






**'\ 




• G^ \!> 







fl GREfll HEART-STORY WITH EXCITING GLIMMES 



SfDIY CAR 



-A— 



T4L£ OF Two Cities. 



Each Act Progressive in Interest and 
Action. 



PRINTED fOR COPYRIGHT. 

/ 
DRAMATIZED BY 

JAMES W/^HARKINS, JR. 

M£MB£R 

AMERICAN DRAMATIST CI.UB. 



1900. 

M. J. DOYI.E PRINTING CO. 

Holyoke, Mass. 



! G-RAND limSSiVB! 

DRAMATIZED FROM 

CHARLES DICKENS' 
GREATEST NOVEL, 



Sydney Carton, 

A A 

WONDERFUL —A— WONDERFUL 

PLAY. STORY. 

TAIE OF TWO CITIES. 



^^Greater love hath no man than this, that a man 
lay down his life for his friends. ^^ 



Incidents of the Great French Revolution, in 

PROLOGUE AND FOUR ACTS. 

Culminating With 

SYDNEY CARTON ^u^'o^.''" THE GUILLOTINE. 



iEUQND COPY, 



TWO COPIES RECEIVED 

offle. ,1,;, "* 
JUW2-1900 



64915 



SYDNEY CARTON, 

A Dramatization written expressly for Mr. SHEA by James W. 

Harkius, Jr., from Charles Dickens' master-work, 

"A Tale of Two Cities." 



•*^ 



PROI.OGUE. 
An Old Barn outside the Walls of Paris. Time — 1763. 



^ 
*N CAST OF CHARACTERS. 

O Marquis St. Evremond ( Twin brothers, ) 

r Chevalier St. Evremond... ( the worst of a bad race, ) 

>t> Dr. Manette, a young physician 

^Martin Defarge, "who comes to avenge" 

^ Collette Defarge, ''a victim of royalty" 

F [Twenty years elapse between the Prologue and Act First.] 

C^ CAST IN PLAY. 

Sydney Carton, a true friend 

Charles Darnay, son of ]ate Marquis St. Evremond 

Marquis St. Evremond, late Chevalier St. Evremond 

Ernest Defarge, brother to Martin and Collette Defarge 

Mr. Stryver, "who rudely pushes himself to the front" 

Mr. Ivorry, connected with Tellson's bank 

Dr. Manette, a Bastile prisoner 20 years 

Jerry Cruncher, porter for Tellson's bank, and at night a 

grave-robber 

John Barsad, an English spy 

Roger Cly, a French spy 

President of the Tribunal 

Old Foulon, a miser 

L,a Breton, a servant 

Guard of the Prison 

lyucy Manette 

Miss Pross, one of Dr. Manette's household 

Vengeance, a leader of the mob 

A Sewing Girl 

SYNOPSIS. 

ACT I— Scene i— Home of the new Marquis St. Evremond in Paris. 
Scene 2 — Sydney Carton's Ivodgings in lyondon. 

ACT II— Home of Dr. Manette in I^ondon. 

ACT III— Scene i — Committee Room of the Revolutionists in 
Paris. Scene 2 — Tribunal Chamber in Paris. 

ACT IV — Scene i — Room in Tellson's Bank, Paris. Scene 2 — 
Charles Darnay's Cell in Prison La Force. Scene 3 — Dark Hall in 
Black Prison. Scene 4 — At the Guillotine. 

Note. — A minute and a half wait scene first and scene second of 
Act First, also between scene first and scene second of Act Fourth. 

COSTUMES AS DESCRIBED IN NOVEL, 



SYDNEY CARTON. 



PROLOGUE. 

Scene — Loft of an old ham — open windoiv r.2E. through 
which moonlight streams in — Small flight of stepH lead- 
ing up to door centre luhich is entrance to room ivhere 
Collette Defarge is confined — Door 1..2E. through 
which all entrances are made — Old horse blanket on 
floor up left at back — Loose hay distributed about floor 
— Over right an old table with draiver in ivhich are 
found ink^ quills and old paper — Old chair left of table 
— I'ime^ night. 

Music for rise, 

{Curtain up — Bell strikes nine — Enter Marouis St. Kvre- 
MOND loith lantern in hand — Stops centre) 

MARQUIS. 
Nine o'clock, {xs r.) 'Tis time Dr. Manette was here. 
{places lamp on table) What is keeping him, I wonder? 

tt possible that he will betray us? {over r.) 
COLLETTE. 
{within) My father! my husband! My husband! my fa- 
ther! 

MARQUIS. 
Oh! those words will drive me on to madness, {over r.) 

COLLETTE. 
{Inside) My father! my husband! {door opens and COL- 
i^ETTE appears at head of stairs) Where are you? 

MARQUIS. 
If she keeps on this way she will soon join her child. (COL- 
lyETTE slowly comes doivn stairs) Collette, this is no place 
for you — back into your room again, {over R.) 



6 SYDNEY CARTON. [PROL. 

COLIvETTE. 
(on lowest step) Dou't come near; it was you who killed 
them both and ruined me. 

MARQUIS. 
Come, come, I've stood this nonsense long enough. Up, 
up into the garret where you belong. 

COLLETTE. 
I'll go! I know you'll beat me if I disobey — but the time 
will come, Marquis St. Evremond, when the peasant's wife 
will be avenged. 

MARQUIS. 
Back into the garret, I say! {ad lib.) Back, back with you. 

COLLETTE. 
I'll go, I'll go. (thro^ door) My husband! my father! 

MARQUIS. 
We must end this to-night; every moment's delay is dan- 
gerous, {locks door) {Enter Chevalier St. Evremond) 
Well, brother, what news ? 

CHEVALIER. f 

The worst. Dr. Manette has betrayed us! 

MARQUIS. 
Betrayed! {doivn steps) How do you know? 

CHEVALIER. 
This letter to the minister of police regarding this affair. 
The minister turned it over to me. What are we to do? 

MARQUIS. 
What do we always do when peasants and beggars try to 
destroy our family name? Do we not send them to prison, 
without a trial and without a possible chance of ever being 
discovered again? Humph! .We nobles must protect our- 
selves, and this {bus) letter de cachet, with Dr. Manette's 
name signed, will send him to a living tomb. 

CHEVALIER. 
Is he within? 

MARQUIS. 
Not yet. He's late. Go below, bid the servants drive to 
his house and bring him here. If he refuses to be silent we 
will make short work of him. (Chev. exits) Betrayed! I 



PROL.] SYDNEY CARTON. 7 

thought as much. If this should ever reach the ears of my 
wife 

COLLETTE. 
{inside) My father! my husband! 

MARQUIS. 
Damn her! {rushes up stairs^ unlocks door) I'll put a 
stop to her tongue. 

{Enter Martin Defarge througJi window, sword in 
hand — very ragged — pale. He is the young brother 
to Coi^ivKTTE aiid comes to avenge her.) 

DEFARGE. 
Stop! Stop, I say! I want my sister! 

MARQUIS. 
(on top step) She is not here! 

DEFARGE. 
She is! I heard her voice. 

COLLETTE. 
{inside) My husband! my father! 

DEFARGE. 
There! You see! You have lied! Come, give her to me, 
I want her. 

MARQUIS. 
{tJiroics purse) That's what you want, {coming down) 

DEFARGE. 
No! you can't buy me! I want my sister. 

MARQUIS. 
(I..C.) Out of here, you dog! {attempts to strike him ivith 
whip ) 

DEFARGE. 
(r.C.) You can't frighten me. Draw and defend yourself. 

MARQUIS. 
What! fight with a serf? 

DEFARGE. 
Draw, or I'll run you through! 



8 SYDNEY CARTON. [PROL.j 

MARQUIS. 

Beggar! If you will have it so {the i/ fig Jit — Coi.i.ETTii 

enters on fop step^ conies doivn, fries fo separafe fheni) 

COLLETTE. 
(c.) My brother! — my brother! — Martin! 

MARQUIS. 
(r.c.) Out of the way, damn you! {pusjies her away) 

DEFARGE. 

(l.c.) Aivay, dear sister, keep away till he is dead, {fight 
confinues and ColIvETTE inferferc^^ irifh the result that 
Martin is run through and falls i^.c.) 

COLLETTE. 

{kneels beside hiin) Martin! brother! brother! (MarouiS 
starts to run him throui^h) 

COLLETTE. 
Scoundrel! 

DEFARGE. 
I tried, dear sister, but I failed. Ernest, our brother, is yet 
alive; he will avenge you. 

MARQUIS. 
Now, get up those stairs, you, do you hear? 

COLLETTE. 
{kneeling beside her brother) Wretch! this is the third that 
you have killed — husband, father, brother, (^v//^/' Chevai^iEr) 

CHEVALIER. 
(i,.2E.) What is this — a duel? 

MARQUIS. 
{over R.) Yes, her brother 

CHEVALIER. 
{at c.) What, an Evremond cross swords with a beggar! 

MARQUIS. 
He forced me to it. 

CHEVALIER. 
If this were known at Versailles we would be disgraced 
forever. 

(CoivivETTE kneeling beside her brother sobbing) 



PROL.] SYDNEY CARTON. 9 

MARQUIS. 
Here, \ye've had enough of that, {takes her rudely and 
pushes her up steps and into door) 

COLLETTE. 
{as she enters) My husband! my father! my brother! {door 
locked) 

MARQUIvS. 
(on top step) Did you send for the doctor? 

CHEVALIER. 
{oi>er R.) Yes; he'll soon be here. 

MARQUIS. 
You've done well, {xs to Martinl; about to kick hini) 
Beggar! 

CHEVALIER. 
Is he dead? 

MARQUIS. 
I don't know. Listen; carriage wheels — cover him quickly. 
{they cover Dkfarge ivith horse blafiket) I suppose we will 
have no peace until the whole family is exterminated. 

CHEVALIER. 
How many after this? {motions) 

MARQUIS. 
Only one, a boy; but I'll soon get rid of him. {enter Dr. 
Manktte h.2H.) You have delayed, dear doctor. 

DOCTOR. 
I am sorry; an urgent case 

MARQUIS. 
(oz'er R.) Is not our case urgent? Attend to her at once. 
(points up) 

DOCTOR. 
Your pardon! If not myself,at least my profession, demands 
respect, {he i^oes up to steps) 

COLLETTE. 
My husband! my father! my brother! liiy brother! 

DOCTOR. 
{turns at foot of steps) Brother? — what can she mean by 
brother? 



lo SYDNEY CARTON. [PROL. 

MARQUIS. 
Merely a whim of hers, that's all. {o^7'oan heard and Doc- 
tor discovers Defaroe) 

DOCTOR. 

{pullino; off blanket) Another! Marquis, what new devil-_ 
try is this? 

MARQUIS. 

Well, if you must know, it's a brother to your patientJ 
{boy sloculy aivakens, looks at Doctor who is holding him) 

DEFARGE. 
Well? well? 

DOCTOR. 
{raising him a trifie) I am a doctor, my poor fellow; let 
me examine you. 



DEFARGE. 
No, no; let me alone; I wish to die! 

DOCTOR. 

How has this been done? 



I 



CHEVALIER. 

Through his own fault, the crazed young serf; he forced 
my brother to draw and he has fallen like a gentleman. 

DOCTOR. 
Where will it all end? 

MARQUIS. 
That's our business, {music cue until Doctor exits) 

DEFARGE. 
{reviving) Those nobles are all proud, and sometimes we 
peasants are the same; they plunder, outrage, beat and kill 
us, aud we — we try to avenge. 

COLLETTE. 
{inside) My husband! my father! my brother! 

DEFARGE. 
Sister! my sister! 

MARQUIS. 
Let that brat alone and attend to the girl. 

DOCTOR. 
No! This boy is dying; I shall stay by his side. 



PROL.] SYDNEY CARTON. ii 

DEFARGE. 
Those nobles have wrecked the modesty and virtue of all 
our girls. We were tenants of his; they are twin brothers, 
alike even in wickedness, and the worst of a bad race. 

DOCTOR. 
Don't talk, my boy; you'll bring on another hemorrhage. 

DEFARGE. 
I must speak; in time to come you will be forced to speak 
too. 

DOCTOR. 
Heaven will avenge it all, but you must be patient. 

DEFARGE. 
We have been, but we can stand it no longer; we have been 
robbed, taxed without mercy, worked without pay, and starved; 
it was a dreadful thing to bring a child into the world, and 
we all prayed that our women might be barren and our miser- 
able race die out. ^ 

CHEVALIER. 
Aren't you through with that dog yet? 

MARQUIS. 
Let him alone; one at a time, {laughs) 

DEFARGE. 
That's the man who ruined our home, killed the husband 
of my sister, harnessed him in a cart all day long, and at night 
made him quiet the frogs iu the pond so that our tyrants 
could sleep; 'twas too much for poor Jule; he sickened and 
died. 

DOCTOR. 
Horrible ! 

DEFARGE. 
Then that man took my sister away — ruined her;^it killed 
my father; then I came and made the proud and haughty 
Marquis fight a common peasant. 

MARQUIvS. 
(laughs) Yes, and you're lasting by far too long. (bus. wilh 
S7Vord; Doctor stops him) What strength there is in these 
common bodies! {going back r.) 

DOCTOR. 
There is great strength in sorrow and despair. 



12 ^ SYDNEY CARTON. [PROL. 

MARQUIS. 
Yes, I've noticed that, (laughs) 

DEFARGK. 
Lift me up, Doctor; I wish to see him. (Doctor lifts hifn 
up on his feet) Turn my face to him. 

CHEVALIER. 
A regular Samson, isn't he ? {over r.) 

MARQUIS. 
The tenacity of a lion. (r. extreme) 

DEFARGE. 
{supported by Doctor) Marquis St. Evremoud, in the days 
to come all this suffering must be answered for, and I sum- 
mon you and yours, to the last of your bad race, to answer 
for it. As proof of this, I mark this cross of blood upon you 
as a sign that it shall be done {makes cross; Martin relaxes 
and dies; he is lozvered to the floor) 

MARQUIS. 
Well, is he dead? 

DOCTOR. 
Yes. 

COLLETTE. 
{inside) Oh, my brother! my brother! 

MARQUIS. 
You may now attend the other. {throTCS dozen keys) 

DOCTOR. 
{picking them up) You are both unwise and foolish men. 

MARQUIS. 
We want only professional advice, doctor. Do your duty. 
{pointing. DocTOH exits i(p steps; as he opens door, CoLi^ETTE 
groa7ts) 

CHEVALIER. 
Now, more than ever, must this man be silenced. 

MARQUIS. 
Give me Manette's denunciation to the police. (Chevalier 
does so) Now go below and have the coachman in readiness. 
(Chevalier exits) Now for this letter de cachet — the ink, 
where is it? {opens drawer) The pen — good! {writes) Dr. Alex- 
ander Manette {re-enter Chevalier) 



I 



PROL.] SYDNEY CARTON. 13 

CHEVALIER. 

{remains over i^.) All ready. (<3f^<9r opens at head of stairs 
and T>R. Manettb appears) 

MARQUIS. 
Well, doctor? 

DOCTOR. 
She has joined her brother. , 

MARQUIS. 
Dead? 

DOCTOR. 
Yes. 

CHEVALIER. 
I congratulate you. (i^. C.) 

MARQUIS. 
And thus ends one tragedy. It is now, dear doctor, in your 
power to prevent another, (r. c.) 

DOCTOR. 
{down c.) What do you mean? 

MARQUIS. 
The things that you have seen here must not be spoken of. 

DOCTOR. 
In our calling, information obtained professionally is sacred. 

MARQUIS. 
An excellent rule. 

DOCTOR. 
But it has one exception: when that information reveals a 
crime. 

MARQUIS. 
Indeed! I am aware, though, that secrecy is often worth 
purchasing. 

DOCTOR. 
With me, under no circumstances. 

MARQUIS. 
Then you must abide the result, {enter tiuo servants) You 
see this letter? It is the one that you sent to the minister of 
police, exposing what you call an outrage; thus I destroy the 
evidence {burns paper) 



14 SYDNEY CARTON. [PROIv. 

DOCTOR. 
You may destroy the evidence, but justice will at last prevail. 

MARQUIS. 
We will balk what you call justice, and seal your mouth 
forever. 

DOCTOR. 
How? 

MARQUIS. 
Do you see this letter de cachet? It consigns you to prison 
as a secret prisoner of state; no records will be kept of your 
incarceration — you will be as effectually blotted out as though 
an earthquake had swallowed you. 

DOCTOR. 
No, no, messieurs — in God's name! — my wife and child 

MARQUIS. 
Are lost to you forever. Secure him! {music till curtain; 
servants rush for Dr. Manette, struggle with him and 
overpower him^ Doctor exclai-jning meanwhile^ Villians! 
fiends! wretches!) 

SERVANTS. 
{after Doctor is secured) Where to, my lord? 

MARQUIS. 

{giving paper) To the Bastile! 

DOCTOR. 
No, no, no! — My God! not there! {servants clap hafids over 
his tnouth to stop Doctor's cries, and as they are making 
their exit they rudely overpower him) 

MARQUIS. 
The Bastile, I say! — the Bastile! {laughing) Thus, my dear 
brother, do we preserve the integrity of the house of Kvre- 
mond. (both shake hands, laugh, take light, zvrap cloaks around 
them, and exit, laughing heartily) 

Curtain. 



ACT IJ SYDNEY CARTON. 15 

ACT I. 

Twenty Years Later. 

Scene First — Home of Chevalier^ now Marquis, St, Evre- 
mond, hi Pa^Hs — Scene set in 2 boxed — centre door with 
curtains to stage — ^.2, practical window showing exterior 
backing — Door Iv.2E., through which all entraftces are made 
— Fancy table centre on which is candelabra, three or four 
lighted candles, papers, documents, ink and quills; also 
small old-fashioned call bell on table and two chairs R. 
and L. — Qver r., near window, small table on which is 
burning single candle with fancy candlestick — Everything 
rich and tastefully arranged; other furniture on stage in 
harmony with surroundings. 

(Chev AIRIER St. Kvremond, now Marquis St. Kvre- 
MOND, discovered at table in dressing gown, looking 
over papers — rings bell — La Breton, the servant, at 
door i,.2E.) 

MARQUIS. 
La Breton, are these all the letters? 

LA BRETON. 
Yes, my lord. 

MARQUIS. 
When is the next post? 

SERVANT. 
Expecting it at any moment. 

MARQUIS. 
I am waiting an important letter from the minister of 
police — watch for it. Begone! {exit servant) {looks over the 
various letters) What is this? Reception! Invitation to — rub- 
bish! Petitions from tenants — beggars! Ah! one from London! 
' Handwriting of my dear young nephew. Marquis St. Eyre- 
mond, or as he prefers, Mous. Charles Darnay. {reads) **I 
have decided to pay one last farewell visit to France. I wish to 
dispose of my estate. I believe the name of Evremond to be more 
detested than any other name in France. 'Tis for that reason 
in a foreign land I have chosen my mother's spotless name of 
Darnay." Impudent puppy! **Our entire estates are but a 
wilderness of crime and must be sold to pay our just debts." 
Never! never while I can prevent it! *'Even in my father's 
time we did a world of wrong; he suffered for it a sudden 



i6 SYDNEY CARTON. [ACT I 

and a violent death. — Charles Darnay." And if un^ plans are 
carried out by John Barsad and Robert Cly, you too will die a 
sudden and violent death, {starts) Did I heai someone at the 
window? Pshaw! it's only my fancy, {opens another letter) 
From Barsad! *'London, May ist. Marquis St. Evremond: — 
The plans are being carried out as you directed. A week ago 
we had young Darnay arrested as a spy, a French sympathizer 
of America against his Royal Majesty, King George the Third. 
Darnay 's death will be a certainty." Excellent, most excel- 
lent! **We have wound a web around him so strong that it 
will be impossible to break. To even mention the name of 
Washington is treason. To-day the verdict will be rendered; 
upon its announcement we will start for France, perhaps be 
with you ere you read this letter. — John Barsad and Robert I 
Cly." If Darnay dies, all the lands are mine, {lauo/is) May 
all the other letters bring such good news, {rustle at ivindow 
— bus.) **Marquis vSt. Evremond, twin brother of a despised 
wretch, prepare to meet thy doom. But twenty-four hours 
of peace are thine — after, at any hour, the bloody knife may 
ioXX.^'' {noise at zvindow — Marquis disturbed — knock at door 
L.2E. — he starts) Who's there? 

JOHN BARSAD. 
{outside) Barsad. 

MARQUIS. 
Come in, Barsad. {enter Barsad) Well, Barsad, the news? 

BARSAD. 
{over ly.) We have failed. 

MARQUIS. 
(r. of table) Failed! I don't understand — speak on. 

BARSAD. 
Young Darnay is acquitted. 

MARQUIS. 
Acquitted! You blundering fool, what became of your 
boasted spider web? 

BARSAD. 

Broken. Our case was going along on wheels when a bar- 
rister in court, named Carton, a drunken dog, struggled to 
his feet, removed his wig and there was the living image of 
young Darnay! He asked the witness to look at him care- 
fully and then swear that the prisoner was the man; the asp 
stared at him, bungled and broke down. From that moment 
our case went to smash. 



: SC. I] SYDNEY CARTON. 17 

MARQUIS. 
' It's a pity you didn't go with it. 

BARSAD. 

We came very near it; the crowd turned on us, hooting and 

yelling; followed us to our lodgings. I escaped. Cly had to 

feign a suicide, and the next morning a coffin filled with 

stones was buried as all that remained of Roger Cly {noise at 

\ window) 

MARQUIS. 
{frightened ) What was that? 

' BARSAD. 

' That! What? 

« 

' MARQUIS. 

Outside the window; open it. 

(Bars AD goes to windoiv, opens it, looks out) 

MARQUIS. 
Anything there? 

BARSAD. 
Nothing, my lord, but the trees and the night. 

MARQUIS. 
Close it. {knock at door) Come in! {enter La Breton) 

LA BRETON. 
My lord, here is the letter that you wanted. 

MARQUIS. 

(I..C.) Good; you may go. {he exits) Now, Barsad, while 

you were trying to trap Darnay in London, I was busy in 

France. Darnay will be in Paris shortly. When he arrives, 

I have here a letter de cachet that will end his days, {bus, 

'■ giving letter to Barsad) 

BARSAD. 
{over R.) From the King's minister! 

, MARQUIS. 

( Read it. 

. ^ BARSAD. 

{reads) **To Marquis St. Kvremond: I am directed by his 
Majesty, with an expression of displeasure " 



i8 SYDNEY CARTON. [ACT I 

MARQUIS. 
What! — displeasure? Go on, go on! 

BARSAD. 
**To refuse the letter de cachet you ask for." 

MARQUIS. 
Refuse! — refuse ine\ Read on! 

BARSAD. 
*'A recent inquiry at the Bastile has brought to light a case 
in which such a letter was abused by you and ydur brother 
twenty years ago. The victim of that injustice, Dr. Manette, 
was released ten months ago, a mental wreck. His Majesty 
does not wish to call attention to crimes of so remote a date, 
and directs your retirement to your estates until his further 
pleasure. Signed, Minister of Police." 

MARQUIS. 
Refused! Disgraced! Barsad, now, more than ever, must I 
have that letter. Enemies are plotting against me. {knock at 
the door) Come in! 

SERVANT. 
A young man has just arrived and demands an immediate 
audience. 

His name? 

Charles Darnay. 

MARQUIS. 

Admit him. {servant exits) Barsad, take this note — a threat 
of assassination — show it to the minister of police. I must have 
that letter de cachet, and that letter must reach the king. 
(Barsad starts to exit Iv.2E.) No, no, not that way; go the 
other way. (Barsad exits r.ie.) I have not failed yet. One 
chance is still left me. {enter Darnay i,.2K.) Welcome to 
Paris, my dear nephew. You came direct from London? 

DARNAY. 

{over iv.) Yes; have you received my letter? 

MARQUIS. 
Yes, and cannot understand it. 

DARNAY. 
Indeed! It's plain enough. I am here in Paris — and no 



MARQUIS. 
SERVANT. 



SC. IJ SYDNEY CARTON. 19 

thanks to you, dear uncle — for the last time. I would not 
dare to come here but that I know your influence with the 
minister of police is happily unfriendly. 

MARQUIS. 
What do you mean by that? 

DARNAY. 
What I have said. I have here papers signed and sealed 
renouncing all my claims to this estate. 

MARQUIS. 
Indeed! and is it yours to renounce? A part may be, but 
not all — at least not till after I am dead; and I assure you, my 
dear nephew, that I am still vigorous and strong. 

DARNAY. 
I care not for that. Bven if death came to you this very 
night I would not touch a franc of this accursed property; we 
have done a world of wrong and we will suffer for it. 

MARQUIS. 
We! We will suffer for it! 

DARNAY. 
Yes, unless the wrongs are righted. You and my dead 
father injured every human creature that stood between you 
and your pleasures. You are his twin — his joint inheritor — 
his successor to the title, and you are now following in the 
same wicked footsteps. For myself, I want none of it. The 
family honor is safe from me — the family name I bear no 
longer. 

MARQUIS. 
And how do you expect to live? 

DARNAY. 
As all our nobles one day will have to live — by work. 
Good night. 

MARQUIS. 
What! are you going? 

DARNAY. 

Yes; my business here is at an end. I start at once for 
London. 

MARQUIS. 
But why not stay, if only for a day or two? 



20 SYDNEY CARTON. [ACT I 

DARNAY. 
No, no, dear uncle. We are living in a fickle age. I live; 
my horse is now below; and while life is mine, I depart. 
Good night and good-bye forever, {exits i^.2E.) 

MARQUIS. 
The impudent young hound! Foiled in all directions! I 
must protect myself and double all the guards. What if that 
letter of assassination was written by some one in the house- 
hold? The dogs! Barsad and Cly will ferret them out. I'll 
keep them obedient to the whip by fear and slavery. Thus 
will it always be. I'll die perpetuating the system under 
which I've lived, {rings belly goes up centei^ looks anxiously 
at windoiv; enter La Breton) Put out all the lights; look 
round the house; be extra careful to-night, {exits c.) 

LA BRETON. 
Very well, my lord, {sloivly tidies up room, puts out three 
candles on center table then goes to zvindoiv over r.) Is that 
you, Defarge? {pause) It's all right, {about to bloiv out candle) 
I'll save this one. {xs to center, looks around — Defarge ^/>- 
pears at ivindoiv and opens it) Wait a moment, {looks off c.) 
It's all right, Defarge; he's now retiring. Do your work well; 
and when you strike, strike the dagger home. 

DEFARGE. 
Fear not! I'll attend to that. Watch, {servant exits, De- 
farge enters room c. — pause — tivo groans heard as if Mar- 
quis ivere stabbed. When Defarge exits c. to kill the Mar- 
quis the servant comes back, looks after Defarge through 
curtain, and as he hears the groans) 

SERVANT. 

{up center at curtains) Horrible! Horrible! {retreats toward 
I,, entrance — pause — r^-<f;//'<?r Defarge through curtain, knife 

in hand) 

DEFARGE. 

'Tis done, and well done! Now to find the new Marquis St. 
Evremond, the last of this accursed race. 

LA BRETON. 

You'll find him, Defarge, somewhere in London. 

DEFARGE. 
In London! I'll start for there at once, {bloivs out remain- 
ing candle) 

DARK change 



SC. II] SYDNEY CARTON. 21 

Note — Curtain falls on dark change — as curtain down lights 
up back — stage cleared, all prepared for next scene — when 
finished, lights out and curtain goes up on dark scene of 
Carton^ s lodgings. Time, minute and a half. 



ScENB Second — Carto7i^s lodgings in London already set 
in 2fH or 4, at opening of act. The previous scene set 
inside of it. This room supposed to be on top floor. All 
entrances made through a trap up centre between 2^ or ^, 
It is protected by one of those old fashioned raihngs. Door 
R.3, leading into Carton^ s sleeping room and sfuall table 
over R. in same place as previous scene; chair i,. of it; on 
table y candle, but not lighted. Old candlestick. On this 
table small New Testament opened. Over l.2E. old fire- 
place with mantel; on mantel, old-fashioned looking 
glass; also old pipe ivith tobacco; couple of bottles also on 
mantel. Old table ivitk draiver on fireplace side; two old 
chairs r, and l. of table — on table, four empty bottles; one 
filled with wine. Old books, cotiple of wine glasses. In 
drawer of table, old revolver. Old book-case and an air 
of neglect about room and its belongi^igs. In centre, 
small table with ivash basin on, partly filled ivith water. 
Few books thrown round on floor. On table over i,., inky 
paper and quills. 

{At opeiiing of scene darkness — knocking heard doivn 
stairs.) 

STRYVKR. 

{knocks down stairs) Sydney! {knocks) Sydney! Sydney 
Carton! {noise of latch down stairs and then afezv steps on 
the stairs) Give me that candle. Why, it's as black as black 
can be. (Stryver comes up 07i stage; lights up partly) 
Where the deuce is he, I wonder? {on stage ?iow) Humph! 
Growing worse every day. If he keeps on this way, there'll 
soon be an end to Sydney Carton, {goes down to table with 
Bible on, lights the caridle on table) Hello! what's this? A 
New Testament! and a passage marked, "I am the resurr-ection 
and the life." Well, who would have thought that such a 
drunken, disreputable dog as SydneyCarton could have religion 
in his heart? {goes over to table left, with the candle still in 
hand and places candle on the table there) He's made a night 
of it, evidently. All empty, {knocks cane on table) Carton! 
Sydney! Come, come, wake up! {going over to door r.) 
Come, come, Sydney; wake up — wake up! 

CARTON. 
{inside) Who's there? 



STRYVKR. 
CARTON. 
STRYVKR. 



22 SYDNKY CARTON. [ACT I 

STRYVER. 

Stryver. 

CARTON. 
What's the matter, Strvver? 

STRYVKR. 

Come, wake up; I've work for you to do. 

CARTON. 
\Vhat time is it? 

Eight o'clock. 

Night or moruing? 

Night — night! 

CARTON. 
All right. {Eiitei's — io7i'el around head as if slcepino- off 
effects of drink) Well, Stryver, how did you get in here — 
pick the lock? 

STRY^VER. 
Bah! that door below hasn't seen a lock in years. 

CARTON. 
No; I always keep open house for my friends. 

STRY^VER. 
{07J iv.) Yes, you have had a few callers, I perceive, {poifif- 
ifig to bottle) Where have you been for the past two weeks? 
Since the trial I have been searching high and low for you. 
That was a great idea of yours, that identification. How the 
deuce did you hit upon it? 

CARTON. 
(C. at table) Well, I noticed that Darnay was a rather 
fair looking chap, and I fancied that I would have looked 
about the same if I had had any luck, {takes off towel and 
puts in 7cas/i stand to :cet) 

STRYVKR. 
Ah, bother your luck! This is the only kind of luck for 
you — work! By the way, what was the meaning of that 
marked passage in that Bible — ^any significance? 



SC. II] SYDNEY CARTON. 23 

CARTON. 
Yes. That marked passage was a sermon over my dead 
father's body, and whenever I get low spirited, I sometimes 
read it, and it gives me hope again. 

STRYVER. 
You are always the same old see-saw Sydney; up one minute 
and down the next, now in despondency — {filling the two wine 
glasses) 

CARTON. 
{takes glass in hand) And now in spirits! 

STRYVER. 
You must be careful, vSydney. You take too much of that. 
Follow my example — imitate me. {sitting i,. of table) 

CARTON. 

{sitting on edge of table) You? Bother you! Don't you 
be moral. v 

STRYVER. 
How have I done what I have done? How do I do what I do? 

CARTON. 
By paying me to help you, I suppose. You were always in 
the front rank. 

STRYVER. 
I wasn't born there, was I? 

CARTON. 
I don't "know; I wasn't present at the ceremony. Even 
when we were in Paris picking up crumbs of French law, 
you were always somewhere and I was nowhere. 

STRYVER. 
Come, now, stop this nonsense. Let us fill a bumper to our 
old friend, Dr. Manette, and congratulations that his mind is 
now restored. 

CARTON. 
I will drink with pleasure, {takes glass) Here's hoping 
that the cursed Bastile, wherein he was incarcerated, may 
soon be battered to the earth! 

STRYVER. 
It has been. Yes, ten days ago. All France is in a turmoil; 
the government is overturned, and the streets are red with 



24 SYDNEY CARTON. [ACT I 

blood! You've been asleep. Our old friend, Ernest Defarge, 
is one of the leaders of the revolution. 

CARTON. 

Then God help the royalty and aristocracy, {drinking) 

STRYVBR. 
Exactly. That's the reason I am here. I have a letter to 
hunt up one Marquis St. Evremond; he is now in London 
under an assumed name. His uncle, the late Marquis, was 
murdered in his bed ten days ago, and the chateau burned to 
the ground. If we find our man, there is a pot of money in 
it for both of us. 

CARTON. 
For both! You mean for you. (goes over to get towel from 
basin) 

STRYVER. 
No, for both. The entire property goes to this Evremond. 
Here are all the papers. 

CARTON. 

{takes out towel^ wrings it out) I'll examine them tomorrow. 

STRYVER. 
Don't delay too long. And now, Sydney, a parting drink. 
We've drank to the father; now let's pledge his pretty 
daughter, Miss Manette. 

CARTON. 
Miss Manette! {xs to table) 

STRYVER. 
{filling glasses) I thought I struck a tender chord. I have 
had my suspicions; now I am sure. 

CARTON. 
Of what? 

STRYVER. 
You love Lucy Manette. 

CARTON. 
As flowers love the sunlight, {drinks) 

STRYVER. 
What if I were in the same box myself? 



I! 



Mi 

I 



SC. II] SYDNEY CARTON. 25 

CARTON. 
You? {laughs) 

STRYVER. 
Certainly — why not? Do you reserve the sole right of de- 
votion in that quarter ? Oh, no. Besides Mr. Sydney Carton, 
there is another — that French upstart, Darnay. 

CARTON. 
Darnay! Charles Darnay! 

STRYVER. 
That's the man. He seems to be the favorite; and to be 
pushed aside by a man whose life I saved 

CARTON. 

{xs over to center) You saved! 

STRYVER. 
Yes; that is, both of us. But I haven't lost hope; I am 
going to see Mr. I^orry this very night and get his influence. 
As for you, my boy, drive Lucy Manette from your thoughts 
and settle down. Take my advice; marry some one who will 
take care of you — some respectable woman with a little prop- 
erty; marry her against a rainy day. That's the kind of a 
wife for you, Sydney. Think it over. Good night. 

CARTON. 

{sitting on edge of center table in deep reflection) Good 
night. 

STRYVER. 
Remember, Sydney, think it over — think itover. {exits down 
stairs) 

CARTON. 
And so Darnay loves Lucy. Lucy Manette — a sweet name 
and a sweet nature. 

STRYVER. 
{down stairs) You will find Mr. Carton upstairs, Mr. 
Darnay. 

CARTON. 

Darnay! What does he want here? (Carton xs over to table ^ 
left, efiter Darnay) 

DARNAY. 
(c) I beg your pardon, Mr. Carton. I have been here quite 



26 SYDNEY CARTON. [ACT I 

often iu hopes of seeing you; I want to tliank you iu person 
for saving my life. 

CARTON. 
If your life is no pleasanter to you than mine is to me, you 
haven't much to thank me for. {left of table) 

DARNAY. 
Perhaps it could be made otherwise. 

CARTON. 
Pshaw! What do you know about it? You have had your 
way smooth iu all — in birth, in means and love. Don't start. I 
know. At your trial I noticed the tender looks that passed 
between you and Miss Manette. 

DARNAY. 
Mr. Carton, that young lady's name is sacred in my eyes. 

CARTON. 
Who said it wasn't in mine? Mr. Darnay, we are alike in 
many things, but not alike in this, {/lolds up zciuc glass) I'm 
a slave to it. Will you join me? 

DARNAY. 
One glass only. 

CARTON. 

{pouring out wine) Well, if it's to be only one glass, let 
that be to an angel — one of the few on earth. Come, your 
toast. 

DARNAY. 
What toast? 

CARTON. 
Why, it's on the tip of your tongue — come, out with it! 

DARNAY. 
Miss Manette! 



CARTON. 
Miss Manette! {bus. thr07cs glass into fireplace and breaks it) 

DARNAY. 
Mr. Carton, I'm surprised! 

CARTON. 
No doubt. I suppose you think I'm drunk? 



■ 



SC. II] SYDNEY CARTON. 27 



i, 



DARNAY. 
Well, no, I can't say that. You have been drinking, I 
think. 

CARTON. 
Think! You know I have been drinking. 

DARNAY. 
vSince I must say so, I know it. 

CARTON. 
Then you shall know why. (jr5 over to Darnay) I am a 
disappointed drudge. I care for no one on earth, and nobody 
cares for me. 

DARNAY 
I grieve to hear you say that, Mr. Carton. But it's not 
true. I care for you; Miss Manette cares for you — she pities 
you. 

CARTON. 
Pities me! God bless her! I know, Mr. Darnay, you love 
Miss Lucy Manette. So do I. And loving her to madness as 
I have done, I deliberately saved your life. I wish you to 
know all this and so I tell it to you — part in hate and part in 
liking and all in bitterness. And now good-bye, and try to 
think more kindly of Sydney Carton than Sydney Carton can 
think of himself, {over to table, takes pipe, sits down) 

DARNAY. 
{over at steps) Strange, wayward creature. And he loves 
her too. (Carton lights pipe with candle that Stryver has 
left on that table) 

CARTON. 
Better take a candle, Mr. Darnay, the hallways are dark. 

DARNAY. 
No, thank you, I'll find my way. {bus. exit dozv7i stairs) 

CARTON. 
Good night, {sits at fireplace) And so Lucy Manette pities 
me. Even her tender pity has extended to this abandoned 
wretch, {looks in glass) And you, why should you like a man 
that resembles you and wins the love of a woman that you 
love? Confound you! Darnay shows you what you've fallen 
away from and what you might have been. Change places 
with him, and would you have been looked at by those pretty 
blue eyes as he was, and commiserated by that agitated face 



28 SYDNEY CARTON. [ACT I 

as he was? Come on, have it out in plain words. You hate 
that fellow — yes, you bitterly hate him. {knocking heard be- 
low) That's right, knock away' I've had enough visitors for 
one day. {knocking) That's right, keep it up. Umph! I'll 
let you cool your heels a bit while I go inside and finish my 
little nap. {exit laughing through door R.3K. — knocking 
still continues — paiise — knock beloiv) 

STRYVBR. 
{down stairs) Go right up, Mr. Lorry; I think you'll find 
him in, sir. Follow me right this way, sir. (Stryver ap- 
pears at head of stairs) Why, he's not here. Strange! I left 
him here not fifteen minutes ago. 

LORRY. 
That's too bad, too bad. 

STRYVER. 

{looking around, goes over to fireplace) Now, Mr. Lorry, 
while you wait for Sydney, couldn't we talk the matter over 
here? 

LORRY. 
Really, the present moment is inopportune, {over r.) 

STRYVER. 
I call it extremely lucky. Now to continue. 

LORRY. 
Some other time. Jerry! (<?;/^^r Jerry at top of steps, looks 
over railing) Are you sure that Mr. Carton lodges here? 

JERRY. 

{hoarse voice) This is the place, sir. {head disappears) 

STRYVER. 
What a peculiar voice. 

LORRY. 
Wait a few moments, Jerry, I may need you. 

JERRY. 
All right, sir. {disappears) 

STRYVER. 
Now, Mr. Lorry, what do you think? 

LORRY. 
Think! My dear sir, I appreciate the confidence that you 



SC. II] SYDNEY CARTON. 29 

place in me, but really I don't see how I can tell Miss Manette 
that you love her. 

STRYVKR. 
But you consider my chances good, do you not? 

JERRY. 
' Yes — for nothing, (appears and out of sight again) 

STRYVER. 
Come, speak out; am I not eligible, prosperous, and steadily 
advancing? • 

JERRY. 
Yes^toward fifty, {same business) 

STRYVER. 
Is not my future promising? 

LORRY. 
You forget, sir; the young lady in question may prefer other 
things than a large bank account. 

STRYVER. 
Damn it, sir, do you mean to tell me that the young lady in 
question is a mincing fool? 

LORRY. 
I mean to tell you, Mr. Stryver, that I will not allow anyone 
to speak in disrespectful terms of Miss Lucy Manette. 

JERRY. 
{comes lip oil stage) Give him one in the wind, governor. 

STRYVER. 
How dare you speak when you are not spoken to? 

JERRY. 
I don't allow no one to bully my governor, {xing over to 
Stryver) You hinsult him, you hinsult me; you hit him and 
you hit me; and when I get started, I'm a regular bull dog. 

^TRYVER. 
Yes, I know you; your name is Cruncher. I had you up 
before me last term as body snatcher. That's what you are — 
a stealer of dead men's bones. 

LORRY. 
(r.) When you get through bullyragging my man, Mr. 
Stryver, perhaps you will allow me to ask if I can be of any 
future service to you? 



30 , SYDNEY CARTON. [ACT I 

STRYVER. ^ 
(i,.) No, sir; nor do I believe you would be of service to 
me if you could. 

LORRY. 
Your perception is unusually acute, sir, {e.^iter Lucy and 
Miss Pross up through trap, Stryver's back is to them) 
and if I have failed to convey to you any doubts, satisfy your- 
self; the young lady is here. (Stryvkr turns) 

STRYVER. 
{embarrassed) Kh — ah — another occasion will do. Your 
servant, Miss Lucy, (xsto Miss Lucy, bows deeply and knocks 
into Lorry, bows deeply y and in backing comes nose to nose 
with Miss Pross — stares) 

PROSvS. 
{grimly) Well, sir, do you see anything unusual before you? 

STRYVER. 
Certainly not, madam; I beg your pardon, {bows and bumps 
up against Cruncher) I'll have 3^ou in the dock again, you 
scoundrel! {exits hastily aiid angrily) 

JERRY. 
I'll bet 5-pun-io my old woman been fioppin' again. 

PROSS. 
What did you mean by fioppin'? Come, answer me; don't 
stand there snivelling like a whipped cur — speak out! 

LORRY. 
{who has crossed around over r. to Lucy) He means, Miss 
Pross, that he has a very good wife who prays frequently and 
fervently that her unworthy husband may become a better 
man, and when she kneels he calls it flopping. 

PROSS. 
(c.) He has a hard, bad face. He needs lots of flopping. 

JERRY. 

{over L.) But I always have harci luck whenever she flops. 
She flopped three times before breakfast. 

PROSS. 
There, there, now, we've had enough of flops. 

LORRY. 
(r., to Lucy) You are getting uneasy. Miss Lucy; where in 
the world can Mr. Carton be? 



SC. II] SYDNEY CARTON. 31 

LUCY. 
(r. c.) Perhaps he's not in town. 

LORRY. 
Oh, yes, he is; Stryver met him here not half an hour ago. 
{anxiously walks up and down over r.) 

LUCY. 
{to Pross) I wonder if I've done wrong in coming here ? 

PROSS. 
(c, stroking hair) Why, no; are we not with you? {vexed) 
For goodness sakes, Mr. Lorry, do stop fidgeting. And you, 
Cruncher — man, you're about to sniveL Who told you you 
could snivel? 

JKRRY. 
No one, mum. I was thinking if I had a daughter— and I 
would have had one only it was a boy called Jerry. 

PROSS. 
{relents) Poor man, maybe he has a heart the same as the 
rest of us. Come here. (Jerry advances) Let me look at you. 
{looks him over) Not so bad as I thought. 

LORRY. 
{coming down) No, indeed, Miss Pross; Cruncher is 

PROSS. 
{sternly) Another time, Mr. Lorry. (Lorry gives up in 
disgust) Now, Cruncher, I want to know what you do that 
needs praying for? Come, tell me. 

JERRY. 
Well, mum, you see — I — sometimes I goes a fishin'. 

LORRY. 

{cofnes down) Yes, in private ponds. 

PROSS. 

Mr. Lorry, I am speaking. (Lorry crtished) Go on, 
Cruncher. 

JERRY. 
And then, when I catches my fish, I study anatomy. 

PROSS. 

Fish — anatomy — excellent subjects. 



32 SYDNEY CARTON. [ACT I 

JERRY. 

{confidentially) Oh,- yes, mum; the last two subjects was 1 
beautiful — you ought to see them. 

PROSS. 
See them — what subjects? 

LORRY. 
He means. Miss Pross, subjects for medical students. 

PROSS. 
Oh! what do you mean — a grave robber? 

JERRY. 
Ah, don't be hard on me. It's all right, mum, after you get 
used to it. 

PROSS. 
Mr. Lorry, if Tellson's bank can't pay this poor man 
enough for his services to keep him out of such wickedness 
it ought to close its doors. Here, Cruncher, {takes out coin 
from purse and places 07i table over i,.) don't go fishing any 
more. 

JERRY. 
Thank ye, mum. There's a woman as wouldn't flop. Thank 
ye, mum. {a?id in making gesture- of thanks his hand sweeps 
off the bottles on to floor) 

CARTON. 
{inside) Hello! Hello! What are you doing out there? That 
you, Ellsworth? Don't drink all the wine, you rascal. I'll be 
out in a minute and help you dispose of it. 

LORRY. 

We'll wait for you down stairs. Come, Cruncher, {both exit 
quietly) 

PROSS. 
Shall I stay with you. Miss Lucy? 

LUCY. 
No — I — I — want to see him alone. (Pross exits quietly — 
Lucy sits at fireplace, her back to Carton's door — key turns 
and Carton looks out and looks around) 

CARTON. 
Deserted! Got tired of waiting, eh? {sees Lucy) Miss Lucy! 



SC. IIJ SYDNEY CARTON. 33 

LUCY. 
(si^s) Oh, Mr. Carton, I'm so delighted to see you again. I 
wanted to before, and to-day I prevailed upon Mr. Lorry and 
Miss Pross to come with me; they are now below. Mr. Car- 
ton, I want to make one last appeal to you — why not change 
your ways? 

CARTON. 
It's too late for that. I shall never be better than I am; I 
shall sink lower and be worse. 

LUCY. 
Oh, Mr. Carton, don't let to-morrow's sun rise on the same 
sad picture. I am sure that you might still be worthier 
yourself. 

CARTON. 
Say of you, Miss Lucy, and although I know better, I shall 
never forget it. (dti^s, Lucy confused) If it had only been pos- 
sible to return the love of the man before you — but no, it 
could not be. I would have dragged you down to sorrow and 
disgrace. I know you can have no tenderness for me. I am 
glad — thankful — that it can never be. {si's over to center table) 

LUCY. 
{xs to him) I know this is a confidence, Mr. Carton, and I 
know you would say this to no one else. Now can't I turn it 
to some good to yourself? 

CARTON. 
{shakes his head) To none — to none! 

LUCY. 
Then if I cannot, there is One above who will open your 
heart to receive His grace. To those who think they are for- 
saken, to those who are on the brink of despair, let His words 
3f comfort echo in your heart, '*I am the resurrection and 
the life." Good-bye, Mr. Carton. 

CARTON. 
Good-bye! {they shake hands ^ Lucy slotvly exits. Carton 
helps her do7V,n) With her love, what might this wasted life 
jf mine have been? Even to have loved her seems to have 
'ekindled the ashes of my other self. **I am the resurrection 
ind the life." {bus., si^hs, ^oes over to table, takes up Bible, 
t is already opened and he reads) " He that belie veth in me, 
hough he were dead, yet shall he live, and whosoever liveth 
md believeth in me shall never die." Shall never die! {tJiiuks 
I moment, sighs, drops head on table, enter Drfarge) 



34 SYDNEY CARTON. [ACT I 

DEFARGE. 
{jvho overhears) And you believe that, Sydney Carton? 

CARTON. 
Every word. But for the promise contained in this little 
passage of scripture, Sydney Carton would have been at the 
bottom of the river long ago. But what are you doing here? 
{rising) I thought you were in Paris beheading the mobs and 
tearing down the Bastile. {xing over l.) 

DEFARGE. 
That work is done; I am on another track. 

CARTON. 

{turns) Is it one of blood? 

DEFARGE. 
Not exactly. I am here in London to try and find one 
Marquis St. Evremond. Perhaps you can aid me. 

CARTON. 

Perhaps — that depends. What is your business with him? 

{at table) 

DEFARGE. 
He's wanted badly in France. You know the story of the 
whole family. You know it was the father of this same Mar- 
quis St. Evremond that imprisoned Dr. Manette for twenty 
years in the tower of the old Bastile. 

CARTON. 
Is it possible? And you expect to find that man in this 
great big city? 

DEFARGE. 
He must be found, and then lured back to Paris to his death. 

CARTON. 
{laughs) Foolish man; by what means do you expect to find 
him? {sits) • 

DEFARGE. • * 

This is one of the means, {gives Carton portrait) That 
portrait was given me by an old servant on the night the Mar- 
quis was killed. Did you ever see that man before? 

(Carton bus., recognizes Darn ay) 

DEFARGE. 
Oh, you know him? Good! At last I've found him! Where 



SC. II] SYDNEY CARTON. 35 

is he? Wheie does he live? Come, Carton, answer me. {pause) 
Look here! You led me to believe you were in sympathy 
with us and with our struggles. 

CARTON. 
I am, but not so far as murder. This man, Bvremond, I 
have cause to hate as much, perhaps, as you. The father has 
wronged you and yours; the son has been the barrier between 
me and my future hopes; but he will never come to harm at 
my hands, {xing over i,. and sitting i,. of table) 

DBFARGK. 
Damn you! I will find this Bvremond without your aid. He 
lives — that, I know — and I will track him as sure as yonder 
moon is sli^ining! Give me that portrait, do you hear? 



And what if I refuse? 
You dare not refuse. 



CARTON. 
DEFARGB. 



CARTON. 
You forget; I am in Bngland, not in France. 

DBFARGB. 
And you forget. We are alone in this building and if 
you refuse I'll kill you as I would a dog. (bus., draws S2Vord 
from cane) Give me that portrait; it is the only means of 
finding Marquis St. Bvremond. 

CARTON. 
Then I will destroy the only means, {burns portrait by can- 
dle, sticking it in the wax. Carton sitting left of table — as 
he starts to burn portrait Defarge rushes with szvord — 
Carton takes pistol from drawer in table, covers him, po7'- 
trait burning all the tifne, and) 

Curtain. 



36 



SYDNEY CARTON. 



[ACT II 



ACT II. 

Hotise of Dr. Manette in London. Entrance to house up 
centre and house J aces the audience. Corner of house r. 
A stone wait runs to Tormentor r. with gateway R.3E. 
Small summer house up r. at corner of house. Down r! is 
a large table with vases filled with flowers. Decanter of 
wine, six glasses. On i^. corner of table, ink, quills and 
paper for Lorry to lurite. Six chairs around table. Over 
I.., near Iv.2K., small rustic table and two chairs. Wood 
cving I,., and wood luing outside of stone zvall or fence over 
R. The scene is of a picturesque house nestling among the 
trees, shozving modesty, comfort a7id taste. 

(Lorry seated at large table r., 7uriting) 



LORRY. 
Jerry! Jerry I Was Mr. Bray at the bank when you left? 
(pause) Jerry! [sharply) Cruncher! 

JERRY. 

{over i^. sitting at small table asleep, gets himself together) 
Yes, sir. {rising) 



Didn't you hear me ? 
Every word, sir. 
What did I say ? 
You said Cruncher. 



LORRY. 

JERRY. 
LORRY. 
JERRY. 



{Enter D'E^AKOnf'Ojn house — Dr. Manette appears in 
doorivay; he has long luhite hair, haggard, and aged) 

DEFARGE. 
I'll be back presently. Dr. Manette. I have an appoint- 
ment with a patriot friend of mine who might put me on the 
track of this friend of ours, the Marquis. 

DOCTOR. 
Very well, Ernest; we will expect you. {exits in house — 
Defarge exits 1..2E.) 



ACT II] SYDNEY CARTON. 37 

(I/ORRY continues writing. Enter Stryver through 
gate R.3E., large bouquet in hand. Lorry sees Stry- 
ver) 

LORRY. 
Ah, Stryver, I am glad to see you. 

STRYVKR. 
I am glad to .see you. {abruptly) 

LORRY. 
Still touchy, eh? 

STRYVER. 
(down R.) Not a bit. I acknowledge that I spoke sharply 
the other day; I was greatly disappointed. ( Jerry has fallen 
asleep again) 

LORRY. 
By that botanical display I think you will meet with fresh 
disappointment. 

STRYVBR. 
(walking up and down r.) I think not. These flowers are 
not for Miss Lucy, but for Miss Pross. 

LORRY. 
Transferred your affections! Let me tell you as a matter of 
business, Miss Pross isn't worth ^lo; that rascally brother of 
hers has run through her little competence. 

STRYVER. 
And do you dare insinuate that I would marry a woman for 
money? No, sir; these flowers are a mark of sympathy. 

LORRY. 
Why, bless me, what has happened? 

STRYVER. 
That rascally brother of hers, as you call him, is dead. 

LORRY. 
Dead! 

vSTRYVER. 
Yes; dead and buried! 

JERRY. 
(waking up) Who said buried? 



38 SYDNEY CARTON. [ACT II 

LORRY. 
Is it possible? Poor Miss Pross. Str^^ver, I beg your pardon. 

STRYVER. 
Granted; but be more careful in the future. (Stryver ^<?^5 
up to house, sees Jerry) So here you are, eh? {shakes him) 
What were you doing last night at St. Pancras church yard? 
{over \^. at rustic table) 

JERRY. 
{rising) I lost my way and was waiting for the moon. 

STRYVER. 
Let me see your hands, {grabs one) Iron rust! — just so. 
I'll have you before me in less than a week, you scoundrel! 
{exits into house) 

JERRY. 
If I ever get the chance I'll never resurrect that man. 

LORRY. 
One moment, Jerry, {takes out sovie papers and looks them 
over; enter Sydney Carton R.3E.) Ah, good evening, Mr. 
Carton. (Carton dressed neater, perfectly sober) 

CARTON. 
Good evening, Mr. Lorry. Is Mr. Darnay within? {leans 
over table) 

LORRY. 
No; he's been away for the last few days. 

CARTON. 
Yes, confound it! {^ing over j^. and looking off 1^.21^.) I 
have been searching for him for the last three days; he hasn't 
been at his lodgings. A sort of mysterious chap, this Darnay. 
(J'ERRY up back) 

LORRY. 
No more than some others that I know of. {bus. with letters) 

CARTON, 
(c.) Eh? Well, I suppose you're right; but we all can't be 
models in morals and business. 

LORRY. 
If you had some business, Mr. Carton, perhaps you would 
attend to it. 



|A.CT II] SYDNEY CARTON. 39 

CARTON. 

Lord love you, no, I shouldn't. I never had any business, 
never expect to have any. 

LORRY. 
It's a pity. 

CARTON. 
I think so too. The most important business I have on 
^and now is to find Darnay. (sits i?i chair over i^.) 

LORRY. 
And I will wager that will end like all the rest — in failure. 

CARTON. 
No, sir; this is a matter of life and death. 

LORRY. 
Yes, Frenchmen are all troubled that way nowadays. You 
will probably find one within shortly, troubled with the same 
complaint. He claims his search is a matter of life and death. 

CARTON. 
Who? What do you mean? 

LORRY. 
Oh, a visitor from sunny France dropped in last night on 
the doctor, an old servant of by-gone days, one Ernest De- 
farge. 

CARTO N. 
{rising) Defarge! Is he within now? (c.) 

LORRY. 
No; he's around London looking for a certain count or 
marquis or some other fellow of nobility; he'll be back 
shortly. 

CARTON. 
Indeed! Then I will go in and wait for him; I want to see 
this friend of the nobility. I say, Mr. Lorry, you seem to be in 
an exceedingly good frame of mind this evening, eh? {laughs 
and exits into house) 

LORRY. 
Brilliant chap, but no attention to business. Now, Crun- 
cher, take this note to Mr. Morton — and Cruncher, was there 
any mail for me at the bank? 



40 vSYDNIiY CARTON. [ACT II 

JKRRV. 
No, sir; I looked particular — Oh, Lor'! [ pui^ hami on pockd) 

LORRY. 

Well! well! what now? 

JERRY. 
Bust nie if it didn't slip my mind. Here's a letter that w;s 
left at the bank three days ago. 

LORRY. 
{iifii^rily) Three days ago! (n'sin^i^) You'll have to menl 
your ways or seek another position. I can not and will net 
overlook everything. 

JERRY. 

I'll bet my wife's floppin' now. {xin^ over \..) 

LORRY. 

{reads address) " For the Marquis vSt. Evremoud; care Tell-I 
son's Bank." Who left this note. Cruncher? 

JERRY. 
A Frenchman — a very peculiar looking man — with a walk 
like a cat. 

LORRY. 
vStrange! {sits doii'u to open it — sees Miss Pross ii'ho lias 
entered R3E. /;/ inourninir) My dear Miss Pross, I — I — sympa- 
thize with you. I have but this moment learned of it. I am 
very sorry. (Miss Pross sits do7i.ni, rii^/it of table r.) 

PROSS. 
Thank you, i\Ir. Lorry. 

LORRY. 
When did it happen? 

PROvSS. 
Ten days ago. I did not learn of it until after you left last 
night. 

LORRY. 
Too bad, too bad. Was it an accident? 

PROSS. 
I am afraid not. {rising) I understand, a suicide— buried 
without my knowledge at St. Pancras. 

JERRY. 
St. Pancras — a suicide — bust me! {Oi'er L.) 



ACT II] SYDNEY CARTON. 41 

LORRY. 
{zt^ry i^a/Za/zf) :Miss Pross, I need uot assure you that what 
afflicts you concerns me deeply, {kisse's her hand) 

PROSS. 
^se: c /c i i) ^Ir. Lorry, there is no occasion for an osculatory 
demonstration of sympathy. 

JERRY. 
I'd hate to have her say that about me. 

LORRY. 
I meant no offense, ]Miss Pross, believe me. 

PROSS. 
Well, be a little more careful in the future. It's verj' easy 
in these days to compromise a lady. But my brother {^crying) 
— my poor, poor brother — I'll never see him again. 

JERRY. 
I begs your pardon, mum. {wtNing oi'cr a ffijic) 

LORRY. 
What, you here yet? 

JERRY. 
I was waiting for further orders, but if you don't object 
perhaps I can help the lady. 

LORRY. 
You I 

JERRY. 
What was your brother's name? (L.C.) 

PROSS. 
His right name was Solomon, but the word I received last 
night was that in his profession he adopted another name — 
that of Roger Cly. 

JERRY. 
And he was buried in St. Pancras, in the field? 

PROSS. 
Yes. 

JERRY. 
Then I say, mum, that your brother isn't dead, he's alive! 
(Pross rises with scrcaw of de/iohf) 



42 SYDNEY CARTON. [ACT II 

LORRY. 
Cruncher, you're crazy! (c.) 

JERRY. 

No, governor; I says it and I mean it. (l.c.) 

PROSS. 

Go on, Cruncher — dear, good Cruncher! {.rs over to c. i 

LORRY. 
Now, Jerry. (r.C.) 

PROSS. 
(c.) Mr. Lorry, either keep quiet or leave the grounds. Go'^ 
on, Jerry. 

JERRY. 
You see, mum, I went out last night fishing— studying 
anatomy at St. Pancras. 

PROSS, 
AVhat, that subject again? 

JERRY. 
That subject or any other that I could get hold of, mum. 
And I goes on record of sayin' that there was nothin' in that 
box but paving stones and dirt. 

PROSS. 
Then my dear brother is alive? 

JERRY. 
Alive as you are! But he had to get out of the country, 
though, for perjury, which means hanging. 

PRO^S. 
{in ecstacy) Oh! Cruncher. Dear, dear Cruncher! {embraces 
hint again and again) 

LORRY. 
Cruncher! Cruncher! How dare you? ^ J 

JERRY. 
(Pkoss still in his arms) 'Tain't me, governor — it's her. I 
have a wife of my own. 

LORRY. 
Miss Pross, I beg of you to reflect. 



ACT II] SYDNEY CARTON. 43 

PROSS. 
Sir! ! ! I am not ashamed of it, if you are — there! there! 
there! {hugs Cruncher again) 

JERRY. 
Oh, if the old woman could see me now wouldn't she flop! 
{xing doivn i,.) 

PROSS. 
Here, here, wait, {empties purse on table L. and gives him 
coin) Bless you, my dear good man; take this, and also my 
tearful prayer. • 

JERRY. 
{holds up hands) No, no, not that, mum — anything but that. 
But I tell you one thing, mum, you don't look anything like 
your brother. 

PROSS. 
If you dare say anything like that I will take that money 
right back again. He's my living image save the scar that's 
on his nose. 

JERRY. 
He hain't got no scar on his nose; that's the other spy. Bar- 
sad. Barsad, he was an Englishman; the other was Roger 
Cly, a Frenchman. 

PROSS. 
And my brother was a spy — against Mr. Darnay? And a 
perjurer! I wish he was dead — dead and buried in the church 
yard before he disgraced his family. I will rip this mourning 
right straight off. Oh, wait till I see him — the ingrate. I 
wish he was buried, {exits into house and slams door) 

LORRY. 
What an extraordinary woman T Jerry, for once your fishing 
was a success; but no more of it; go along now. (Jhrry exits 
iv.2E.) There's always a black sheep in every family, {enter 
Darnay R.3E.) Ah, Mr. Darnay, welcome home. You have 
been much inquired after during your absence. 

DARNAY. 
(r. C.) Indeed, I am flattered; and who were the inquirers? 

LORRY. 
Well, the most particular one was our friend. Carton. He 
seemed very much interested. 



44 . SYDNEY CARTON. [ACT II 

DARNAY. 
Really? {laughs) The last time I met him he seemed to be 
otherwise, {crossing over i,.) 

LORRY. 
A strange sort of chap — no understanding him. By the 
bye, you intended to speak to Dr. Manette about Miss Lucy? 
{both over l.) 

DARNAY. 
If I muster up courage this evening, {enter Stryver ayid 
CAnroisi/roin house) « 

STRYVER. 
{jri?7g do7vn r.) It means a pot of money for us both if we 
find him. 

CARTON. 
Yes, yes; I know, I know. 

STRYVER. 
Have you found any trace of him? {oz'er table r.) 

CARTON. 
Not the slightest, {sees Darnay, goes to him rapidly) I 
have been looking for you, Mr. Darnay; may I have a mo- 
ihent with you on important business? 

DARNAY. 
Another occasion, please, {enter Dr. Manette and Lucy 
from honse, Lucy on his right leading him) 

CARTON. 
The matter concerns you vitally. (Darnay bozvs, xs to 
Lucy, takes doctor^s hand; Carton remains i^. a7id Lorry 
i?i meantime has crossed over Vi.) 

STRYVER. 
(at table) Hello! {picks up paper) Look here, Carton, here's 
a letter for the same man, Marquis St. Evremond. {at the 
name ^Evremond, Lucy, Doctor and Darnay stop^ show 
trifle agitation and proceed to chair, ivith the Doctor) 

STRYVER. 
{reading)^' Car Q of Tellson's bank. " Why, I have a letter for 
the same individual postmarked Paris. (Darnay, Doctor 
and Lucy stop again) 



ACT II] SYDNEY CARTON. 45 

DOCTOR. 
Paris! {z'aguely) 

LORRY. 
Mr. Stryver, since you have a letter for the same party, 
perhaps you will return mine. (Doctor by this time in chair y 
Lucy kneeling at his side, Darn ay over extreme i^. Carton 
up back IV at chin g Darn ay) 

STRYVKR. 
Certainly, here you are; but you* needn't be so uppish 
about it. {strikes letter savagely) This Marquis St. Evremond 
at the first sign of danger deserts his native land, and like a 
criminal, seeks shelter elsewhere. 

DARNAY. 
Sir! How dare you pass judgment upon a man you cannot 
possibly be acquainted with? 

DOCTOR. 
Charles! 

STRYVER. 
{back of table, over ^.) Oh, I didn't know we had a cham- 
pion amongst us. I forgot, you are a Frenchman also. 

LORRY. 
{extreme r.) And a gentleman also. 

STRYVER. 
And I am not, I suppose! {angrily) I wonder Marquis St. 
Evremond is not at the head of the mob. 

CARTON. 
Stryver, I wouldn't say anything more about the Marquis 
5tt. Evremond. I happen to know the^man. (Darnay starts) 

STRYVER. 
And you never told me? 

CARTON. 
(c.) Give me the letter, I will deliver it to him. 

STRYVER. 
No trick now, Carton. It's share and share alike. 

CARTON. 

{takes letter) Better still. I promise you all I obtain from 
he transaction. 



46 SYDNEY CARTON. [ACT II 

STRYVKR. 
That's more like you, Carton. 

LORRY. 
Here, Mr. Carton, since you know the gentleman, kindly 
deliver this also, {x'iiig to him) 

CARTON. 

{takes letter) With pleasure. 

DARNAY. 
Dr. Manette, may I have a few words with you in private? 

DOCTOR. 
Certainly, if Miss Lucy does not object. 

LUCY. 
Certainly not. (Darnay takes her up to house — kisses her 
hand — she exits — Doctor slozvly xs to chair r.) 

LORRY. 
Come, Mr. Stryver, let's take a walk; I think Mr. Darnay 
has something very important to say to the doctor. 

STRYVER. 
That's why you wouldn't say a good word for me. Con- 
found you! 

LORRY. 
There, there, come on, come on. {exit R.3E., after Darnay 
leads Lucy off he comes down c.) 

CARTON. 

{xs to c, gives the letters addressed to St. Evremond to 
Darnay, btit unseen by Doctor) Mr. Darnay, I must have a 
few words with you thi^ evening without fail, {exits iv. 2E.) 

DARNAY. 

{looks after him confused; places letters in pocket) Dr. 
Manette, the time has come when I must speak to you on a 
topic concerning Miss Lucy. I love her ardently, devotedly. 

DOCTOR. 
{sitting on chair left of large table over r.) Have you 
spoken to Lucy? 

DARNAY. 

No. 



ACT II] SYDNEY CARTON. 47 

DOCTOR. 
Nor written? 

DARNAY. 
(C.) Never. 

DOCTOR. 
Her father thanks you for your delicacy and self denial. 

DARNAY. 
And always knowing this I have forborne as long as it was 
in the power of man to do it. Like you I am a voluntary 
exile. I look only to share your fortune, sharing your life 
and home and being faithful to you till the death. Not to take 
from you your child but to bind her closer to you if such a 
thing can be. 

DOCTOR. 
•Have you any reason to believe that Lucy loves you? 

DARNAY. 
" Not as yet; none. 



Mr. Darnay, you have my consent to speak to my daughter. 
If she tells me you are necessary to her happiness, I will give 
her to you. (Darnay takes his hand) 

DARNAY. 
I can offer you no thanks now, but your confidence in me 
must be returned with full confidence on my part. I am not 
here under my own name. 

DOCTOR. 
vStop! 

DARNAY. 
I wish this to be no secret from you. 

DOCTOR. 
vStop, I say! {rises) Tell me when I ask it, not now. As 
Darnay, yo\i have met and loved my daughter; should she 
love you in return tell her your own name on your wedding- 
morn. Do you promise? 

DARNAY. 
Willingly. 



48 SYDNEY CARTON. [ACT II 

DOCTOR. 
Give me your hand, {bus.^ Lucy appears at door) Hush! 
she is here; let it be now, I would have it over. (Darnay 
crosses over i,.) 

LUCY. 
{coming docvn) I am afraid I have disturbed you. 

DOCTOR. 
No, Lucy; on the contrary you have just arrived in time. 
Mr. Darnay has consulted me on a matter of importance. 
Should you consent, let it be from your heart, Lucy; it is my 
dearest wish, {takes her hand) My dearest wish, {sloiidy exits 
into house and Lucy sits at table r.) 

DARNAY. 
Miss Lucy, it has been agreed that I should see you and tell 
you, or rather ask you — {aside) How easy to talk to the doctor. 
In fact, I was tp ask your advice about it. 

LUCY. 
My advice! — about what? Surely father could give you 
better advice than I. 

DARNAY. 
Certainly — that is — well, no — in a case like this your con- 
sent is necessary. 

LUCY. 
My consent? Why, my father's will is my law. 

DARNAY. 
I am poor, very poor. 

LUCY. 
Indeed! 

DARNAY. 
So I came to your father, as he is a man of exceeding 
wealth. 

LUCY. 
Wealth! Oh, no, Mr. Darnay. 

DARNAY. 
Ah, but he is — he has told me so himself, although I knew 
it before. 

LUCY. 

Strange, he has never told me. When did you first dis- 
cover it? 



ACT II] SYDNEY CARTON. 49 

DARNAY. 
On the day that I first met you. 

LUCY. 
When did he come into this fortune? 

DARNAY. 
On the day you were born. 

LUCY. 
Did my mother know? 

DARNAY. 
Oh, yes; in fact, it was her gift to your father. 

LUCY. 
It seems like a fairy tale. I see; you have asked father for 
a loan and he has consented. I am so glad, {rising) 

DARNAY. 
Not for a loan, Miss Lucy, but for a gift — I want you, Lucy. 

LUCY. 
You want me — Oh! {turns to n.) 

DARNAY. 

You are the treasure that has brightened your father's life, 
^ou are the treasure that I need and want, to hold always and 
lever to return. This is my dearest wish also — shall it be 
TOUT law, Lucy? Is it to be happiness or not? 

LUCY. 
But father — you will not take me from him? 

DARNAY. 
He is my father now. 

LUCY. 

Charles, I must go to him and tell him how happy his gift 

o you has made his daughter, {ke leads her around to c. — 

ees Dkfarge who has entered and is standing up c. at door 

-slight scream) Defarge! (Darnay and Lucy back over left) 

DEFARGE. 
Why, Miss Lucy, what's the matter? 

LUCY. 
Nothing; it's very stupid of me. Mr. Darnay, this is one 
f our countrymen, Ernest Defarge, a man to whom father is 
l;reatly indebted. 



5© SYDNEY CARTON. [ACT II 

DARNAY. 

Indebted? I am pleased to meet any one who has been of 
service to the family, {goes to him and extends hand) 

DBFARGE. 
{takes it) May I have a few words with you? 

DARNAY. 

Certainly. (Darnay leads Lucy to exit; Defargk down 
R., Darnay then comes down centre) 

DEFARGE. 

I have been searching everywhere for you — Marquis St. 
Evremond. 

DARNAY. 
{starts) Who told you my name was Marquis St. Evremond? 

DEFARGE. 
Such is your name. You don't deny it, do you? Read! 

{hands hivi letter) 

DARNAY. 
{opens it) From Gabelle, Foolish Gabelle — to betray my 
identity, {xing over left) 

DEFARGE. 
He is in danger of death. You alone can save him. In the 
name of heaven he appeals to you. 

DARNAY. 
But how, how can I save him? 

DEFARGE. 
He's in the prison of the Abbey. Come with me to Paris 
and you can do it. 

DARNAY. 

An hour ago I would have gone willingly, joyfully; but 
now — oh, my God! how can I go now? {xi?ig over r.) 

DEFARGE. 
Has poor Gabelle written to you in vain — you, his last hope — 
to save him from the guillotine? A man that would lay down 
his life for you. Do you think the Mdlle. would like you to 
stay if she knew the truth? 

DARNAY. 
{to him^self) What, what shall I do? 



ACT II] SYDNEY CARTON. 51 

DEFARGK. 
^ Gabelle, your faithful servant, is dying for you beyond. 

DARNAY. 
True, true. 

DEFARGE. 

From the prison there of horror he appeals to you and you 

^ alone. I will go with you to Paris. I will protect you on 

the way. When we reach the city I will see that you are 

taken to Gabelle without a minute's delay and then protect 

you. 

DARNAY. 
You protect me? — openly protect an aristocrat? 

DEFARGE. 
I am a patriot and as such can do no wrong, (c.) 

DARNAY. 
Your object in this? — you have spent time and money — was 
all this for me? (r.) 

DEFARGE. 
No, not for you, for Gabelle; I love him as a brother; he 
once aided me, and a Frenchman is always a true friend. 

DARNAY. 
Wait in the garden; I must reflect on this. Let no one see 
you or know your errand. 

DEFARGE. 
You'll not be long? 

DARNAY. 
No, no; I will think it over, {nervous and deeply affected) 

DEFARGE. 

3 At last! My father! my sister! and my brother! {xs and meets 

CARTON/a^:^ to face who enters Iv.ie;. Darnay up hack overn.) 

CARTON. 
So, you are here? 

DEFARGE. 
Certainly; an old friend of the doctor's has a right to visit 
him, has he not? 

CARTON. 
You came for other reasons. 



52 SYDNEY CARTON. [ACT II 

DEFARGE. 
I have seen the man. (Darnay up back) There he is, the 
man I want, {exits i^.iis,. enter Stryver and Lorry through 
gate and Doctor and hvcY from house) 

DOCTOR. 
My friends, if you will do me the honor of sitting with me 
beneath my old tree, I will tell you of a happiness which has 
entered our home, {they alt sit dozun except Carton who is 
over I., looking in direction of Defarge in deep thought) 
Gentlemen, to-day my family has grown larger. In giving 
my daughter to Charles Darnay, I part not with one child 
but gain another. (Doctor sitting center, l^VQY l.c, and 
Darnay sitting extreme i,., Stryer r. a^id Lorry extreme r.) 

LORRY. 
{rising) I congratulate you with all my heart. Oh, I saw 
it coming long ago. I congratulate you, Lucy; you, Darnay; 
you, Doctor; you too. Carton, if I knew what you were to be 
thankful for. I congratulate everybody; even you, Stryver. 

STRYVER. 
{grozvls) Come, come, man, save your breath; you're not 
spokesman of the whole party, {rising) Mr. Lorry has said so 
much and so little there remains nothing for me to say save 
heartily echoing his sentiments. 

DOCTOR. 
Charles, I confide my child to your care. I give her to 
you from my heart, with a father's love and blessing. 

DARNAY. 
And I pledge my life and devotion to her happiness {kisses 
her hand.) 

CARTON. 

May I join you in a toast? {over i,.) 

DOCTOR. 
With pleasure, Mr. Carton. (Carton xs over to table be- 
tiveen Doctor and Lucy) 

LORRY. 
Hear, hear, a toast! Stryver, don't stamp on my foot. 

CARTON. 
{lifts glass) To the gentlest and sweetest of her sex — may 
her days be long and full of deep content. May the man 
blessed with this rare gift always wear it next his heart. 



ACT II] SYDNEY CARTON. 53 

{slowly and deliberately looking at Darnay) May no sudden 
resolve, no hasty, ill-considered quest, bring uneasiness nor 
despair to the gentle heart which has given him its unre- 
served trust. Gentlemen, I drink to the future bride. 

LORRY. 

To the future bride. (Darnay turns his head aivay) 

DOCTOR. 
Charles, have you no answer to Mr. Carton's beautiful 
toast? (Darnay rises, goes left — Lucy observes and her head 
falls on table) Lucy, child, you are overcome. 

LUCY. 
No, no; take me inside, father; {rising) I am not well. 
(Darnay goes to her, helps to lead her off) 

DOCTOR. 
Come, dear, come with me — the gentlemen will excuse you. 
Too much excitement, I fear, {leads her to house) Will you 
come in, Charles? 

DARNAY. 
In a few minutes, {goes down r.) 

DOCTOR. 
{at door) How strangely he's acting. (Lorry and Stryvkr 
exit I.. 2k. — Carton, who has gone over left, watches scene 
closely) 

DARNAY. 
{dozvn R.) My God! how can I leave her at this minute? — 
and yet I must. I must go without a word or sign — she must 
never know that I have gone to Paris — to wicked, murderous 
Paris, {starts and is about to go, left — Carton stops him at 
center — Lorry and Stryver meantime exit up \,.) 

CARTON. 
{quietly) Where are you going? 

DARNAY. 
(r.c.) Mr. Carton, by the delivery of those letters to me I 
see you know who I am. You have forced yourself into 
my confidence; there is no bond between us to warrant this 
intrusion into my private affairs, {starts, xs t,.y his -hat on 
table) 

CARTON. 
You are going to Paris? 



54 SYDNEY CARTON. [ACT II 

DARNAY. 
(conies back and looks him squarely in the face) Yes, sir, I 
am going to Paris. 

CARTON. 
To the guillotine? 

- DARNAY. 
Perhaps. 

CARTON. 
You will not go alone? (r.c.) 

DARNAY. 
Very likely. The knife is busy nowadays. (i,.C.) 

CARTON. 
You are dragging with 3'^ou the woman you love. 

DARNAY. 
{starts) Lucyi^— no, no, no! 

CARTON. 
Do you think she will stay when she learns you have gone? 

DARNAY. 
{after pause) Carton, you over-estimate the danger. What 
can befall me? 

CARTON. 
The worst. In France the name of Evremond is accursed. 

DARNAY. 
But I have done no wrong. 

CARTON. 
No, you are a good man from a bad race; but the people of 
France are not reasoning just now, they are slaughtering. 

DARNAY. 
I appreciate the spirit in which you speak, but I must go. 
I go to save a life that pleads for me. 

CARTON. 
You \^ill not start at once? 

DARNAY. 
Well, perhaps not for a day or two. (Carton xs over r., 
Darnay xs over to left) I must go while my determination 



IaCT II] SYDNEY CARTON. 55 

is strong, {he exits, Carton looks after him and shakes his 
head) 

CARTON. 
{xs R.) Headstrong, but noble! {enter Lucy and comes 
down to Carton) 

LUCY. 
Mr. Carton, where is Charles — Mr. Darnay? 

CARTON. 
In the garden, {eagerly) Shall I call him? (.r^ over to left) 

LUCY. 
No, not now. I want to speak to you about him. When 
we were speaking about the Marquis St. Evremond I noticed 
an expression of anxiety cross Charles' face, and then again 
when you gave your toast. Tell me, Mr. Carton, is Mr. Darnay 
in any danger? 

CARTON. 
At pwesent, no. What the future holds no man knows, but 
when the proper time comes he will open his heart to you 
and all will be well. ' 

LUCY. 
Oh, Mr. Carton, your words make me so happy. I shall 
never forget your kindness, you are so brave and good. {xs. 
over to table r.) 

CARTON. 

You are crying, Miss Lucy. Believe me, Miss Lucy, I am 
not worth it. An hour or two hence I shall be with my low 
companions and yield again to my low habits, {bus.) And 
should we never meet again, I want to say this to you — For 
you and any dear to you I would do anything; and oh, Miss 
Lucy, when the ties come that will bind you yet more ten- 
derly to the home you so adorn, when you see your bright 
beauty springing up anew at your feet, think now and then 
there is a man who would give his life to save a life you love. 
{she sinks sobbing at table — Stryver and Lorry retiu^n — 
Carton puts fingers to his lips and points to Lucy — Dr. 
ManetTE enters from house in extreme agitation) 

DOCTOR. 
Lucy! Lucy! Mr. Carton! {coming do7cn c.) 

CARTON. 
{goes to him — Carton on his lefty Lucy on his right) 
What is the matter? 



56 SYDNEY CARTON. [ACT II_ 

DOCTOR. 
Charles! (sits in chair left of table r.) He is gone! 

ALL 
Gone! (Lorry xs up back 6>/ Doctor) 

DOCTOR. 

Yes, I saw him from the window ride swiftly away with my 
old servant, Defarge. 

CARTON. 
Defarge! {looks off in direction that Darnay ivent) 

DOCTOR. 
Oh! I'm afraid, I'm afraid! 

LORRY. 
Perhaps he has gone to the city. 

CARTON. 
No, no, he's gone to Paris, {goes back to C.) 

LUCY and STRYVER. 
To Paris! 

DOCTOR. 
My God! 

LORRY. 
Why, he's as safe there as you or I. 

CARTON. 
If he ever reaches the city of Paris he is doomed. 

LUCY. 
Why, Mr. Carton ? 

CARTON. 

For with him rides the bloody Defarge, a man who has 
consecrated his life to the destruction of his family. 

STRYVKR. 
What! Charles Darnay? 

CARTON. 
There's no such man. He comes from the most hated race 
in France. His right name is Kvremond. {.ring over left, 
takes hat from table) 



ACT II] SYDNEY CARTON. 57 

ALL 
Kvretnond! 

LUCY. 
Oh, Mr. Carton, save him — follow him! {at centre) 

CARTON. 
I will. I'll start at once and try to reach him before he 
takes the boat at Dover. If I fail I'll cross the Channel and. 
journey to the heart of France. Trust me, Miss Lucy, I'll 
save Charles Darnay if I can. {exits I,.IE. — Curtain) 

LUCY. 
{as curtain ascends) God speed you! God bless you! 

{kneels c.) 

Curtain. 



58 SYDNEY CARTON. [ACT III 



ACT III. 

Scene First. — Public Prosecutor's room in 2. Ce7itre door 
with curtains. Other entrances i,.iE. a7id r.ie. Large ta- 
ble at R.2E. with documents, pen, quills and paper. Old- 
fashioned chair behind this table which will serve as a desk. 
Mob filling Mp entire centre door eagerly looking and list- 
ening. Roger Cly back of table and the Vengeance is up 
centre with sword in hand ready to lead the mob. As cur- 
tain goes up, mob cheering ivildly, led by Vengeance. 



CLY. 
If there are any other names to be added to the list of ene- 
mies, now is the time. To-day fifty aristocrats were welcomed 
to the guillotine. 

VENGEANCE. 
Long live the guillotine! Long live the Republic! (Mob 
shouts) 

CLY. 
Only ten minutes more remain. Send out the cry for trait- 
ors and for spies. 

VENGEANCE. 
And don't forget the aristocrats — their cursed heads are 
ours. Death to all aristocrats! Long live the guillotine! 
(Mob cheers — enter Barsad l.ie) 

BARSAD. 
News, friends, news! — news from the other world ! You 
all remember old Foulon — Foulon who told the ^mished 
people to eat grass ? 

VENGEANCE. 
Yes, yes, the miserable wretch is dead. 

BARSAD. 
No, citizens, no — he lives! 

VENGEANCE. 
Then away to the guillotine with him! 

MOB. 
The guillotine! the guillotine! 



SC. IJ SYDNEY CARTON. 59 

CLY. 
Bring him before us. 

BARSAD. 
{off stage) In with the old miser! (Foulon is thrown in 
from I,. IE., ragged, pale, and cringing with fear) 

VENGEANCE. 
(r.C.) Now, you old monster, you know what it is to suffer. 

BARSAD, 
(iv.) Kill the old miser! 

VENGEANCE. 
No, let the law proceed and kill him inch by inch. 

CLY. 
His name goes on the list; trial in the morning. 

BARSAD. 
No! Kill him without a trial ! 

CLY 
Trial in the morning. We have no pity for the scoundrel. 
He it was who told the poor to eat grass; told the innocent 
young babes to do the same. Away with him! (Foui^ON 
pushed through crowd at c, abused and cuffed) 

VENGEANCE. 
{laughing) That's the way we treat misers. 

DEFARGE. 
{outside) Make way! make way, I say! — make way! {push- 
ing through crowd, and Darnay throzvn on through centre 
door bound) Here's another aristocrat. Look at him and add 
his name to the list. 

DARNAY. 
(c.) Why do you bring me here — why do you offer me 
these indignities? I am a Frenchman. 

DEFARGE. 
(.R.C.) No, an aristocrat! (Carton unobserved in the mob) 

VENGEANCE, 
(i^.c.) Death to the aristocmt! 

DARNAY. 
I demand my rights. 



6o SYDNEY CARTON. [ACT III 



t 



CIvY. 

{over at table) You have no rights. Our will is law. Take 
him back to prison La Force, subject to call for trial. 

DARNAY. 
What ! you intend to bury me there ? 

DEFARGE. 
Others have been buried in worse prisons before. 

^ DARNAY. 

But not by me, Citizen Defarge. 

DEFARGE. 
By the same flesh and blood, Marquis St Evremond. 

VENGEANCE. 
What ! the cursed Evremond ! Give him his trial — the 
sooner the better. I want to see his head upon the block. 

DEFARGE. 
And I demand it. Call him tomorrow with the rest, and 
let him prove his guilt. 

CLY. 
Tomorrow then. So be it. Sign your name, Defarge. {he 
does so) Tomorrow, Barsad, we appoint you in charge of all 
prisoners and' witnesses. Conduct the prisoner back again. 
{DA'SLi^i AY exits with two soldiers l.ik., croiud pushing him 
off\ Darnay struggling) 

VENGEANCE. 
Long live the guillotine ! Long live the Republic ! (Mob 
cheers — Dkfarge urges on crowd and exits with Darnay — 
Mob disappears cheering) 

CLY. 
Barsad, take charge, {exit R.iE.) 

(Barsad goes over to table, ar-ranges papers while all 
are retiring — CARTOisr has been in among croivd all 
the tivie, avoiding Defarge — as Defarge exits i,.iE., 
he looks in that direction; all others have gone, leaving 
Carton and Barsad alone — Barsad over at desk) 

BARSAD. 
Come, citizen, this is no plaq| for you. 

CARTON. 
You are mistaken, {turns up07i him) Ah, you know me? 



SC. I] SYDNEY CARTON. 6i 

BARSAD. 

No. (sitting in chair) 

CARTON. 
{sitting on edge of table) No? Strange! I thought we met 
beifore in London at a certain trial in the Old Bailey. You 
were then a spy in the pay of theBritish Government. You 
had then the aid of a French spy, one Roger Cly, who now, it 
seems, is Public Prosecutor for the people. 

BARSAD. 
What do you mean by all this ? Are you aware that we are 
all-powerful here ? 

CARTON. 
Not if I denounce you as a British spy. This young Dar- 
nay must be saved. If he dies, you die ! {still sitting on edge 
of table) 

BARSAD. 
What do you expect me to do ? 

CARTON. 
I want you and Roger Cly 

BARSAD. 
Roger Cly is dead ! — buried in London. 

CARTON. 
Roger Cly is alive ! — you dare not deny it. 

BARSAD. 
Yes, he is alive, {sullenly) 

CARTOV. 
I thought so. The French people love an English spy. 

BARSAD. 
Lower, lower. What do you want? 

CARTON. 
You have charge of all the prisoners and the witnesses. 
iVhen Charles Darnay is called tomorrow for trial, this man 
Oefarge must not appear. 

BARSAD 
How can I prevent it? I should be torn to pieces. 

CARTON. 

It must be done. Defarge is excitable; when he appears 



62 SYDNEY CARTON. [ACT III 

make him wait with all the other witnesses; iuconvenieiice 
him as much as possible. He will rave and tear when he 
finds his freedom partly gone, possibly will strike you. Pro- 
voke him; we may then overpower him, lead him away, hold 
him till after Darnay's case is called, then let him free. 
{:rs over to l) 

BARSAD. 
Are you aware that that would mean my death ? 

CARTON. 

Yes, positively, if you refuse to aid me. You must also 
procure me access to the prisoner. 

BARvSAD. 
I tell you it would mean my head. 

CARTON. 
Not if you obey. Write me a pass to Darnay's cell. {bus. 
for Barsad) You are wise, Barsad. If you stand by me in 
this I'll stick by you to the death. Is it agreed? 



I 



BARSAD. 
Yes. {offers ha?ni) 

CARTON. 

No, not yet. First prove your fidelity. That pass to Da: 
nay. {bus. of Bav^skT)) Write it; sign your name to it. (Carton 
looks off 1^. in.) Good ! I'll meet you in the morning, {starts 
for center a7id then turns just in tinier as Barsad has a knife 
ready to stab Carton — Barsad stops) I'll meet you in the 
morning. 

Dark change^ or curtain, for a minute and a half till 
next scene arranged, 

Scenp: Second. — Revolutionary tribunal in 4. Judge's or 
President's bench up c, with table, zvriting viateriats on, 
and two chairs R. and i^. Jury pen from back drop running 
doivn to right tonnentor, and spectators' pen 07i other side 
from drop to left tormentor. Entrance to room tip i,. of 
Judge's bench. Small prisoners' stand doivn c. and a small 
zvitness-stand up r., between Judge's stand and Jury box. 
Judge or President discovered on bench. Tzvo chairs out- 
side of Jury box down about r.2E. for Lucy and Mr. 
Lorry. Roger Cly r. oJ table, ivhich is in front of Judge's 
bench. Old Foulon, pale and trembling, 07i prisoners' 
stand. Jury in box and mob in spectators' pen, Vengc- 



SC. II] SYDNEY CARTON. 63 

ance is outside of the pen ready to urge on the mob. Scene 
opens in darkness, loud cheeringy and ringing of the Presi- 
de7iVs bell for silence; when curtain upy lights on full. 

VENGEANCE. 
Look, friends, look! I'll tie this bunch of grass upon his 
back, {ties bunch of grass on Foulon's back) 

MOB. 
Bravo! (President ringing bell, then silence) 

PRESIDENT. 
Citizens, this trial must proceed. 

CLY. 
{over R.c.) Citizens, President, this is the hardened wretch 
who destroyed sisters, brothers, mothers and daughters, and 
who advised the poor to live on grass. 

VENGEANCE. 
What's food for one is food for another. Eat, you dog, eat! 
{bus. with grass — chair left of stand so he can reach F0UI.0N) 

MOB. 
Eat, eat, you dog — eat! 

CLY. 
{to Jury) I demand the life of Foulon and the heart of 
Foulon, that we may rend him to pieces — dig him into the 
ground that grass may grow from him. 

• VENGEANCE. 
Death to the old miser! — death! death! 

MOB. 
That's right! Death! death! 

PRESIDENT. 
{riiigs the bell — silence) What is the verdict of the jury? 

FOREMAN OF THE JURY. 
Guilty! 

VENGEANCE. 
Long live the guillotine! {cheers given) 

PRESIDENT. 
The prisoner will be taken back to jail, and to-morrow, be- 
fore sulirise, be guillotined. 



64 SYDNEY CARTON. [ACT III 

(Mob makes a mad rush for him and tries to thrust the, 
grass dozvfi his throat as they carry him off 'l,. ye. screamX 
ing with horror) 

FOULON. 
{cryi7ig) Mercy! Mercy! (ad lib) 

(President ringing the bell — as FouIvOn exitSy the crowd 
is over l.ie.; as they turn they see Mr. Lorry and Lucy" 
Manette and old Dr. Manette, zvho have entered^ I..C.) 

BARSAD. 
{zvho enters I,.IE.) Aristocrats! — look, aristocrats! Downj 
with them! {inakes rush for them — Vengeance steps in 
betiveen) 

VENGEANCE. 
Hold! These are not aristocrats. This is Citizen Manette 
— the good Citizen Manette, who was incarcerated for twenty 
years in the Bastile. Long live Citizen Manette! ^ 

MOB. 
Long live Citizen Manette! {great cheering and ivaving of 
hats — President striking ivith gavel for order) 

PRESIDENT. 
Citizen Maaejtte, as a friend of this Republic, you are more 
than welcome. 

VENGEANCE. 
And he deserves it! Look, citizens, there is a man who 
was ground under the heels of Royalty. 

MOB. 
To the guillotine with all prisoners! {bus. for LuCY ivith her 
father yM.^. Lorry takes her and leads her over to the chairs.) 

VENGEANCE. 
And if that is not quick enough, our arms and knives are 
ready. Here's mine for work, {ivaviug his knife) 

MOB. 
And mine! and mine! {p2it ivith their knives) 

PRESIDENT. 
(gavel) There is one more prisoner that yet awaits his 
trial — Charles Evremond, called Darnay. 

BARSAD. 
(outside) Charles Evremond, called Darnay! {repeated 
twice) 



I 



ACT III] SYDNEY CARTON. 65 

PRESIDENT. 
Citizen Manette, you are a witness, I believe. A chair for 
you is here, {pointing to chair left of table, luhich is directly 
in front of his beftch) Charles Evremond, called Darnay. 
(Darnay enters l. c. pale. Carton enters shortly after un- 
observed and walks over to where Luc v and Lorry are seated 
— as Darnay enters he meets Manettk, grasps his hand, 
goes down left to prisoners' stand — Lucy approaches him — 
Ci^Y observing, steps in between them just as they are about 
to em^brace — Cly points to stand — Darnay gets on it and 
Lucy is led back to her seat by Mr. Lorry) 

PREvSIDENT. 
Proceed with the case of Charles Evremond, called Darnay. 
Proceed. 

CLY. 
I accuse the prisoner at the bar, Charles Evremond, called 
Darnay, as an emigrant, whose life is forfeit to the people 
under the decree of the assembly which banishes all emi- 
grants under pain of death. I shall prove his name, his title, 
and the fact of his return since the date of the decree. There- 
fore, justice demands the head of the prisoner, {bus, for Lucy 
and Carton) 

VENGEANCE. 
Yes, the people demand his head! Death to the criminal! 
Death to the aristocrat! 

PRESIDENT. 
{ringing bell for silence) Does the prisoner admit his 
name? 



Yes. 

His family? 

Yes. 



DARNAY. 

PRESIDENT. 

DARNAY. 



PRESIDENT. 
His character of Frenchman and emigrant? 

DARNAY. 
The first, yes; the last, no! I relinquished all claim to the 
title and estates and left my country long before the word 
emigrant was known in its present use. 



66 SYDNEY CARTON. [ACT III 

VENGEANCE. 
Well answered. Bravo! 

PRESIDENT. 
Why did you leave the country? 

DARNAY. 
Because I chose to earn my own living by my own industry 
in England rather than live in France by 'the sweat of the 
suffering people. 

PRESIDENT. 
And why did you return? 

DARNAY. 
To save the life of an old servant who was endangered by 
my absence. 

CLY. 
{going down right ^t/'Darnay) Is that old servant present 
to give evidence in your favor? 

DARNAY. 
No; he is dead. 

CLY. 
Yes, he is dead; but how? 

DARNAY. 
By the guillotine. 

CLY. 
{to Jury) Then I submit he was a traitor; and you, by try- 
ing to save him, became a traitor, too. 

CROWD. 
Well said ! Bravo, Cly ! bravo ! Death to the aristocrats ! 

CLY. 
The prisoner at the bar went to England to try and secure 
help from the tyrannical English government to crush the 
people of France. 

VENGEANCE 
Bravo, Cly! Down with the traitor! 

DARNAY. 
No, no, citizens, *tis false ! 

CLY. 
{to Jury) I tell you, citizens, *tis true ! {crowd applaud) 



ACT III] SYDNEY CARTON. 67 

DOCTOR. 
{rising y addressing spectators) Friends! friends! listen to 
me — to me — to me! 'Tis not true. This young man was loy- 
al to France. He went to England to try and better his con- 
dition. 

CLY. 
That's it; he thought more of himself than France. France 
wasn't good enough for him and so he lived in England and 
fattened on the rents paid by the starving poor. 

VENGEANCE. 
Another Foulon! We demand his head! 

DOCTOR. 
'Tis not so, good friends. 

PRESIDENT. 
Citizen Manette, take the witness stand. (Manktte crosses 
to witness stand) 

VENGEANCE. 
Long live Citizen Manette! (Mob cheers) 

PRESIDENT. 
Listen to the good old man who has suffered in our cause. 
Citizen Manette, one question: Was the prisoner at the bar 
loyal to France or not? 

DOCTOR. 
He was loyal. He was my first friend after my long im- 
prisonment, and instead of being a friend of Englands he was 
ried for his life as a French spy and a friend of the United 
States. 

CLY. 
{to Mob) Hold on, friends, this is a trick to gain your 
sympathy. 

DOCTOR. 
No, no, good friends; ask Mr. Lorry who is sitting there to 
^rove the truth of what I say. (Ci^Y appeals to President) 

LORRY. 
(rising) Citizens, President 

CLY. 
(turns on Lorry) Silence ! You are no witness here, 
^rieuds and citizens, that man represents the Tellson Bank, 



68 SYDNEY CARTON. [ACT III 

the hardest-hearted bankers in the world and the enemies < 
the common people. 

VENGEANCE. 
Down with the bankers and all aristocrats ! 

CLY. 

This is all a trick to gain your friendship and your favor.^ 
Dr. Manette did suffer once for his country but that is for- 
gotten; he now stands ready to perjure himself for his intend- 
ed son-in-law. {pointing at Darnay) The trial that they 
speak of never happened. 

DARNAY. 

It did ! and there stands the barrister that saved my lifd 
Citizen President, I call upon Sydney Carton as a witness. 

CLY. 
(rc) Another Englishman and a hater of the p6or. 

CARTON. 

{do7vn r) No, citizens, no ! I sympathize with you an^ 
with your sufferings — I, too, am poor; no one in this council 
hall is poorer than I am. Long live France, and long live 
the Republic ! {going up to Cly and joining in the cheers — 
meantime Manette steps off witness stand and Qa.'rto^ gets 
on. Manette sits on chair right of table nervous and ex- 
hausted) 

CROWD. 
Hurrah ! — hurrah ! — hurrah ! 

VENGEANCE. 
Down with the Englishman, and all who trample on ou 
rights ! 

CARTON. 
That's right; down with England ! — down with France ! 
Down with any country when it tramples on the rights of the 
poor ! Long live the Republic ! — long live justice ! {cheers) 
That's the kind of an aristocrat I am. 

VENGEANCE. 
Long live the citizen ! Long live the witness ! 

CARTON. 

Impossible, friends — impossible ! How can I live without a 
franc to buy my dinner with. 



ACT III] SYDNEY CARTON. 69 

VENGEANCE. 
Come with us — we'll find it. 

CARTON. 
That's what I've been living on for the past three days. 
{holding up bottle) I've no sympathy with the rich — all 
that I want, all that you want, is justice. 

CROWD. 
Justice ! — justice ! — justice ! 

CARTON. 
And we'll have it, friends, will we not? {crowd answers 
Yes!) And you give it to that young man, also? {pointing 
to Darn ay) 

CLY. 
No ! we want the life of that man ! (Ci^Y over at witness 
stand ) 

CARTON. 

And why do you want that man's life? Who's paying you 
to demand his life? You've tried that game before; I know 
you, your name is Cly — Roger Cly. Listen, friends; that's 
the man who went to London in behalf of Marquis St. Evre- 
mond to put young Darnay out of the way. He had him ar- 
rested as a spy against the British government, and all the 
time he was a spy in the service of France, and working 
against the common people. Now, citizens, which ought to 
go to the guillotine — Darnay, the prisoner, or Cly, the spy? 

CROWD. 

Cly! Cly! The spy! the spy! (CivY rushes over and back 
trying to appeal to the people) 

CARTON. 
Then send him there. He turned his coat as soon as roy- 
alty fell, and is ready to betray the people again. He's worse 
than old Foulon! He stabs in the back! Death to the spy! 
To the guillotine! — the guillotine! 

VENGEANCE. 
To the guillotine! — to the guillotine! {croivd rush over the 
seats, seize Ci^y and drag him off 1..1E. shouting spy!— spy! 
spy!— spy!— kill the spy! Ci^y struggles — cheers kept up 
until City's exit — Presidknt ringing bell — crozvd returns) 

VENGEANCE. 
Long live the citizen! long live justice! 



70 SYDNEY CARTON. [ACT III 

CARTON. 
Right, friends, right! And you'll give it, friends — give it 
to rich and poor alike? 

VENGEANCE. 
Ay, that we will! 

CARTON. 
That's all I want. Now let the others speak, {steps down 
from stand — shakes hand o/DiSi. Manette) 

PRESIDENT. 
Call the principal witness against the prisoner — Ernest De- 
farge; wanted, Ernest Defarge. 

VOICE. 
{outside) Wanted, Ernest Defarge! Wanted, Ernest De- 
farge! {as though going in distance) Wanted, Ernest Defarge! 
{faintly heard) — {pause) — He's not in the witness room. 
{faintly heard) He's not in the witness room, {still nearer) 
He's not in the witness room, {quite loud) 

PRESIDENT. 
Not in the witness room? Jurymen, you have heard — the 
principal witness can not be found. Your verdict — guilty or 
not guilty? 

JURY. 
Not guilty ! 

PRESIDENT. 
Then the prisoner is free! {all give three cheers and then 
catch the orchestra playing the Marseillaise. The crowd and 
jurymen jump to the stage ^ surround the prisoner^ join in 
singing the Marseillaise. Darnay rushes into Lucy's arms. 
Crowd picks him up and places him on table. Great cheer- 
ing and singing wildly the Marseillaise. Dancing till cur- 
tain falls. All confusion and excitem^ent) 

Curtain. 



ACT IV] SYDNEY CARTON. 71 



I 



ACT IV. 



Scene First. — Room in Tellson's Banky in 2 or 2^4, door c^ 
Tiith curtains — chair back of c. door — windoiv Tv.2E., with 
Venetian blinds — small table and, chair over "sl. — table and 
two chairs over i^., near window^ with account books on — 
waste basket — door r.2E. — scene boxed, 

{Bell rings outside as though distant church bell) 

LORRY. 

Eleven o'clock. Ah! this has been a hard day's work. 

(discovered tearing up papers) A strange job, this — burning 

the papers of Tellson's bank; but it must be done, else heads 

will fall. Jerry! Jerry! (enter Jkkky zvith a pile of ledgers 

R.2E.) 

JERRY. 
'Ere I am, Mr. Lorry; *ow much more to do? It's near mid- 
night. 

LORRY. 
That's true. Take those books with the papers here. I 
did intend to burn them, but on second thoughts I think I'll 
bury them. 

JERRY. 

r wouldn't if I were you — I'd burn 'em if you want to save 

heads. There may be such a thing as book snatchers. (noise 

outside — murmicrs ^Mob. At window) The cut-throats are 

outside at the grindstone again, (noise of grindstone outside) 

LORRY. 
{over at window) Oh, the scoundrels; and in the yard of 
Tellson's bank, too. They are going to make a night of it. 
Jerry, take the books and burn them — burn them at once. 

JERRY. 
I've a blazin' fire all ready. Nobody won't disturb their 
poor ashes — no, sir; I'll answer for that, (sloivly exits R.2E.) 

LORRY. 
Ah! those are not the first bank books that have ended in 
smoke, (looks through closed Venetian blinds) That's right, 
grind away, you rascals — not scissors and knives, but swords 
and pikes. What work have the devils now in view? 



72 SYDNEY CARTON. [ACT IV 

CROWD. 
{they chant outside) The guillotine! — the guillotine! — long 
live the guillotine! 

LORRY. 
Women and children, too — it makes me sick to look at 
them. 

CROWD. 
{singing outside) Evremond — vSt. Kvremond — we'll send 
him to the guillotine! 

LORRY. 
The guillotine? Kvremond? What new mischief are they 
plotting? 

CROWD. 
{singing outside) Evremond, St. Evremond; we'll send 
him to the guillotine! 

LORRY. 
Oh! (Carton enters in door 'R.2n. pale — hair disheveled) 
My God! Carton, what's the matter? 

CARTON. 

The worst — Darnay is again arrested! 

LORRY. 

Arrested! 

CARTON. 
Yes; this morning. Torn from the arms of Lucy at the mo- 
ment of his greatest happiness; dragged through the streets 
like a common dog; placed on trial; and tomorrow, one hour 
before sunrise, the guillotine ! 

LORRY. 
The guillotine ! My God ! for what reason ? — who was the 
accuser? 

CARTON. 
Ernest Defarge and Dr. Manette. 

LORRY. 
Dr. Manette ! 

CARTON. 
Yes. When the Bastile was being battered to the ground, 
Ernest Defarge went into the old cell of Dr. Manette, and 
there in the chimney hidden away he found a full confession 



SC. I] SYDNEY CARTON. 73 

written by the doctor himself, exposing the foul crime that 
sent him there. When Defarge read the confession at the 
trial and told the mob that the girl was his sister and the dy- 
ing boy his brother, they broke all bounds — went wild — and 
for the sins of the father, Charles Darnay must die ! {enter 
Lucy on the arm of Miss Pross) 

LORRY. 
Miss Lucy, you here! {goes to her, takes her arm) Why, 
what is the matter? 

LUCY. 
My father — have you seen him ? 

LORRY. 

^ Your father — why, what has befallen him? {leads her to 
chair) 

PROSS. 
He hasn't been home since the trial. 

LUCY. 
I'm sure he's dead or else mad, wandering through the 
streets of this great city. 

LORRY. 
There, there, my child, have no fear; a Bastile prisoner is 
safe, perfectly safe. Perhaps he's using his great influence 
to save Charles. While there's life there's hope. 

CROWD. 
{outside) The guillotine! the guillotine! long live the 
guillotine ! 

LUCY. 
What is that? {starts for window and Lorry prevents her) 

LORRY. 
No, no, my child, you must not. 

CROWD. 
{outside chanting) vSharpen and grind, sharpen and grind, 
grind the knives for the guillotine ! 

LUCY. 

No ! no ! {staggers back) Father ! Charles ! {caught by 
Miss Pross and placed in chair back of centre curtain) 

LORRY. 
Miss Manette! Lucy ! She doesn't hear a word. 



74 SYDNEY CARTON. [ACT IV 

CARTON. 

Vi . i / at 7vitido7c) Better let her rest; nature demands re- 
pose. 

CROWD. 

{outsiiir cfiafiti?!^') The guillotine ! the guillotine ! long 
live the guillotine ! 

LORRY. 

God help the doctor if he falls into the hands of those be- 
low. 

CARTON. 
Ah! the wheels of fate are grinding—grinding on! 

CROWD. 
{cha?it) Sharpen, grind — sharpen, grind — grind the knives 
for the guillotine! 

LORRY. 
Hear the fiends — thirsting for human blood ! A fine exam- 
ple of Christian charity and brotherly love. 

CARTON. 
{at 7C'ifn/o:i') And yet, greater love hath no man than this, 
that a man lay down his life for hi^ friends. 

LORRY. 
Ah, Carton, those self-sacrificing days are gone forever — 
they'll never return. 

CARTON. 
They might! Who knows? The morrow is not here — the 
sun is not yet risen. 

LORRY. 
{eyTtffj^ him) What does he mean? {k?iock at door r.2E.) 
Who's there? 

DEFARGK. 
'Tis 1— Defarge. 

CARTON. 
(L.C.^ Defarge! 

LORRY. 

(c. turtiitto to Carton) What shall we do? 

CARTON. 
Admit him. 



SC. I] SYDNii^V CARTON. 75 

LORRY. 
He may mean harm. 

CARTON. 
If he means harm tx> Lucy Manette, he'll never leave this 
room alive. (Carton quietly ^oes over to door that Defargk 
is to enter — stands by door-center IrnvKKC^K—when Carton 
finds out Dkfakgk's mission, }(oes away from door, up hack 
of Depargh, hut unseen by the latter) 

LORRY. 
Come in. (enter Dekarge) 

DEFARGE. 
Where is ]Jr. Manette? — he's not at home. I wish to speak 
to him. 

LORRY. 
He can't be found, thanks to your deviltry. 

DEFARGE. 
I mean no harm to my old master; he has suffered enough 
already. I wish to save him. 

LORRY. 
How? 

DEFARGE. 
Leave Paris Viefore the execution of Darnay, or you'll never 
quit alive. Already there's a plot against you all. I love my 
master and his child, h)ut the hated race of Evremond must 
perish from the earth, {observes Carton) Yes, even in spite 
of you, Mr. Sydney Carton. You tried to save him but you 
failed miserably (fxits) 

CARTON. 

{clock strikes r2) Not yet! 

LORRY. 
(l) Twelve o'clock, the last day on earth for Darnay. 

CARTON. 

(r) The last day on earth for me. 

LORRY. 
Did you speak, Mr. Carton? 

CARTON. 

(shakes head) ]s^. {pause) 'Sh! I think 1 hear the doc- 
tor, {pause) -Yes; 'tis he. {enter Doctor with head and 



76 SYDNEY CARTON. [ACT IV 

throat bare J coat in hand and trailing on the floor, stops, looks 
round — he is led to door by Defarge) 

DOCTOR. 
{^crossing c.) Where's tny bench — my shoemaker's bench? 
I've been looking every place for it and I can't find it. I 
must finish those shoes, {pause — drops coat at c.) Those 
shoes must be done to-night, {over i^.) 

* 
LORRY. 
Lost! utterly lost! {takes him — leads him over x,. to chair 
— he sits down) 

CARTON. 

{picks up coat and paper falls out) We should look at this. 



LORRY. 
Certainly, by all means. 

CARTON. 
{looks at it) Thank God! 

LORRY. 
What is it? 



I 



CARTON. 
Passport for jiimself and Lucy. As Defarge says, it may be 
recalled at any minute. Keep it till tomorrow — also mine, 
which enables me to pass out of the city. Notice, Sydney 
Carton, an Knglishman. You, Lorry, will save them all. 

LORRY. 
How? 

CARTON. 
Horses must be ordered at once. 

LORRY. 
Yes, but I don't understand. Why should we leave so 
soon? We have done no wrong. 

CARTON. ■' 

Not yet, but you will. It is a capital crixne to sympathize 
with a victim of the guillotine, and all of you would commit 
that offence. 

LORRY. 
I understand. 



SC. II] SYDNEY CARTON, 77 

CARTON. 
Lucy must be aroused at once and told of the awful danger. 
Have her make one grand last effort. Tell her it will save 
a life she loves; dwell upon that — a life she loves. Be sure 
and reserve my place and when it is occupied— understand, 
occupied — wait for nothing, but start for England. 

LORRY. 
Then I shall have a young and ardent man beside me ? 

CARTON. 
If heaven favors us, yes. 

LORRY. 
I'll order horses here at once. I'll do my part faithfully. 

CARTON. 
With God's help, I'll do mine. Good-bye. {shakes hands, 
starts for door — looks over at Doctor, xs over to him, takes 
his hand. The Doctor partially recognizes him^ looks at 
him affectionately a7id kisses his hand. Lorry meantime has 
gone up to curtains, pushes back the curtains disclosing Lucy 
regaining her senses. Car'ion observes, goes up, kneels 
down, kisses her hand — rises slozuly, goes over to door r. — as 
about to exit) A life she loves ! {exit) 

Dark Change 



Scene Second — Prison in /. Green foots one-half up ; bunch 
lights 071 R.iE. — blue foots. Table r. with one chair on 
left — paper, ink and quill. On opening of scene clock out- 
side tolls I . 

(Darn AY iv a I king across i, to r.) 

DARNAY. 
One o'clock ! — gone forever. But two hours more and the 
tumbrils will be jolting through the streets with souls to the 
everlasting doom, {rattle of chains and ope7iing of doors. 
Enter in cell Carton and Barsad carrying lighi) The time 
has come. 

BARSAD. 
Here is the bottle and here the cloth; the chemist says be 
careful — too much means death. (Carton takes bottle, Bar- 
sad exits — bolt of door Darnay ticrns round) 

DARNAY. 
{sees Carton) Carton, you here ! — in this prison ! 



78 SYDNEY CARTON. [ACT IV 

CARTON. 
With Barsad's aid. I come from Miss Manette (Darnay 
grasps his hand ) with a request. 



DARNAY. 



What is it? 



CARTON. 
(l.c.) That you will do as I desire. No questions must be 
asked. Give me that coat of yours, {he does so) That cravat, 
also, {bus.) The ribbon from your hair, {bus.) Now shake your 
hair like mine. 

DARNAY. 

Carton, this is madness. There is no escape from this 
place. I will not stir. 

CARTON. 
When I ask, refuse. Is your hand steady enough to write? 

DARNAY. 
It was when you came in. 

CARTON. 
Steady it again and write what I dictate. (Darnay sits at 
table, pen in hand. Carton, back to Darnay, pours out li- 
quid on handkerchief) Write exactly as I speak. 

DARNAY. 

To whom do I address it ? 

CARTON. 
To no one. 

DARNAY. 
Do I date it ? 

CARTON. 

No. {pours out drug on handkerchief, back to Darnay) 
If you remember the words that passed between us in London, 
you will readily comprehend this letter; I know you will re- 
member — it is not your nature to forget. (Carton accidentally 
drops handkerchief on table in front of Darnay — at same 
time to throw Darnay off guard, quickly places his hand on 
his breast — crossing back of table to right ^Darnay) 

DARNAY. 
Is that a weapon in your hand ? 



SC. II] SYDNEY CARTON. 79 

CARTON. 
No. 

DARNAY. 

Take your hand from your breast ! {pause) Take it away, 
I say! 

CARTON. 

Why, it's nothing. Write on; there's not a moment to 
lose. {J^Kvsi^iPiM pushes a7v ay handkerchief writing) **I am 
thankful that the time has come when I can prove them." 
(Darnay drops pen, pauses, bewildered — gazes vacantly. 
Carton takes handkerchief and passes it in front of Dar- 
NAY'syb;^^) 

DARNAY. 
What vapor is that ? 

CARTON. 
{crossing back and over i^) Vapor ? 

DARNAY. 
Something that crossed me. 

CARTON. 
I'm conscious of nothing. Take up the pen and finish. 
Hurry. (Darnay takes up pen but dazed) You have written 
**That the time has come." 

DARNAY. 
Yes, "when I can prove them." 

CARTON. » 

Good ! **And I do so without regret or grief." (Carton 
passes his hand once more over Darnay 's face and Darnay 
writes last sentence and shows that he is becoming overpower- 
ed by the vapor; as he finishes the word griefs Darnay 
rouses himself, starts to rise — Carton overpowers him and 
covering Darnay 's nose ivith the handkerchief he forces him 
to the floor and finally Darnay becomes unconscious) 

CARTON. 

Barsad ! Barsad ! Come in. (<?«/^r Barsad, i^.iK.) Look, 
Barsad, and answer, is your hazard great ? 

BARSAD. 
Not if you are true to the whole of your bargain.. 

CARTON. 
I'll be true; see that you are true to yours. Now take me 
to the coach. 



8o SYDNEY CARTON. [ACT IV 

BARvSAD. 
You! 

CARTON. 
HitQ, man, with whom I have exchanged. Go out at the 
gate by which you brought me in. The parting interview has 
overpowered me. Your life now is in your own hands — quick, 
call assistance. 

BARSAD. 
You swear not to betray me ? 

CARTON. 
Fool ! Go ! Take him yourself to Tellson's Bank; place 
him yourself in the carriage; show him yourself to Mr. Lorry; 
tell him to give him no restoratives but air, and to remember 
my parting words and his parting promise. Away ! (Barsad 
exits. Carton goes to table, writes) "To Miss Lucy Man- 
ette. Signed, Charles Darnay." {folds up paper and places 
it in breast o/Dakis!Ay) A life she loves, {enter Barsad and 
a GaoIvKr) 

BARSAD. 
KH ! the milksop has fainted. 

GAOLER. 
Brave patriot! So sorry to find that his friend has drawn 
a prize in the lottery of St. Guillotine ! 

BARSAD. 
Come, to the coach with him. Adieu, St. Evreniond; your 
time is short {tke^ exit) 

CARTON. 
Yes, Barsad, my time is short. Poor Darnay. God help 
him and strengthen me. {bell tolls 2) 

J^ark change. 

Scene Third. — Interior of the Black Prison of Conciergerie 
i7i 2 or J — bell tolls j — Guard over l. with lantern and 
paper in hand. Lovely girls, bright women^ bro7vn-haired 
and black-haired, and gray ; youths, stalwart men and old; 
gentle-born and peasant-bor7i; from royalty to murderers 
a?td thieves; some seated luith drooping heads, others sunk 
i7i silent despair; several with eyes closed, others uneasy 
and restless, shaking with fear; a slight girlish figure 
away from the rest, over r. trembling ivith fear; Carton 
standing near an iron post in c. in deep thought, oblivious 
of his surroundings; Guard with document in his hand, 
ready to read, marks off by light of lantern . 



|SC. Ill] SYDNEY CARTON. 8r 

GUARD. 
The tour has arrived and the guillotine awaits her lawful 
prey. You have all been given your numbers and to-day fifty- 
two heads will roll into the basket. On the first tumbril all 
the murderers and thieves will ride on their journey to death. 
Numbers i, 2, 3, 4, 5, 6, 7, 8, 9, and 10 {the prisoners that are 
called off crowd together i^fear; the four Gv^kt>s zvith guns 
push them together zvith ad lib exclamations^ prisoners like- 
wise until they are pushed off into ttunbril l.2E. with a cheer 
from the outside, and the cart starts on its journey) Look at 
them; instead of fifty-two it ought to have been one hundred 
and fifty-two. 

{An old man am.ong the prisoners says : I am innocent! 
I never wronged France in any way.) 

GUARD. 
Tell that to the guillotine, she will soothe your sorrows; 
she's a saint to those afflicted, {laughing) The guillotine! — 
St. Guillotine! — (goes down r., notices Carton with his eyes 
upturned as though gazing into space) Hello! hello! here's 
a saint with upturned eyes, but they are fixed on eternity. 
What is it, O great and honored saint, that you see so far 
away? (bows m^ockingly) 

CARTON. 
I see long ranks of this new oppression — leaders, judges, 
spies, and all mounting the same steps that we'll ascend and 
leading to the guillotine. 

GUARD. 
(laughs) Listen to the dreamer, (laughs) Evremond, the 
saint and prophet, (xs R., sees trembling seamstress who has 
advanced when she hears Evremond 's name) Who are you 
staring at? (Giis.'L retires) Trembling, eh? You'll cringe 
more than that when you ascend the guillotine, (she appeals 
timidly with outstretched hands to him.; he takes one, swings 
the girl around with it) Out of the way! (she falls and 
Carton steps in between them) Oh, ho! so you're her 
champion, are you? A protector! Well, protect her from the 
day's wine that the guillotine will claim. (Guard looks and 
then slowly m>oves round the assem^bled prisoners) If there 
are any among you that are troubled with the headache, the 
guillotine will cure it. It will prevent the hair from turning 
gray. No razor will shave as close. You needn't say your 
beads there. The cross has gone forever and in its place will 
stand the guillotine. Long live the guillotine! (cheers outside) 
Long live the devil! (reneived cheers — pause) 



82 SYDNEY CARTON. [ACT IV 

CARTON. 
Fear not, my friends; let us all go to death bravely. Ou our 
side is right aud God. 

{Roll of tumbril heard near and nearer, and loud cheers _ 
from outside — then silence — girl still kneelingy hold- 
ing Carton's hand infeaA 

GUARD. 
Numbers ii and 12 {middle-aged man and woman go to- 
gether—pushed on by Guard with ad lib exclamations') 
Number 15. 

NUMBER 15. 
Citizen Evremond, I thank you for the fortitude and 
strength that you have given me in this, my last hour. Good- 
bye and God bless you. {slowly exits) 

GUARD. 

18 and 20 {young man goes up steps^ totters, and would fall 
but that 20 holds him up — then Guard comes and pushes him 
off with) Coward! — dog! — get in there! 13, 14 and 15 are not 
here, having committed suicide in their cells. lirave men ! 
A worthy example. 16 {a ivoman goes up) 17 and 19. {they 
support the zvoma7i a?id as they exit l.2R. into tumbril it ^ 
drives off amidst cheers. Guard exits off steps) 

GIRL, 
lb there no hope, Citizen Evremond? 

CARTON. 
None, my child — none. 

GIRL. 

Let me stay close to you; it will help me. I am a poor 
little seamstress that was arrested with you. 

CARTON. 
With me ! What for ? 

GIRL. 
Don't you remember? Plots! — and heaven knows that I 
am innocent. Who would plot with a poor creature like me? 

CARTON. 
I am very sorry for you. 

GIRL. 
I am not afraid to die if the Republic will only help the 
poor; but I can't see how my death will help it. 



SC. Ill] SYDNEY CARTON. 83 

CARTON. 
Alas ! we are all victims. 

GIRL. 
But you are not condemned. I heard that you were free. 

CARTON'. 
I was, but only for a moment. 

GIRL. 
Then there's no hope for nie, Citizen Evremond ? I'm lit- 
tle and weak, and if I hold your hand I, think it will give me 
courage. May I go with you to the guillotine? 

CARTON. 
I can not tell; my number is 25. 

GIRL. 
Mine is 24. {she stretches both hands to Ca'rton with joy — 
it is the first time she sees him face to face) Why, you're not 
Citizen Evremond ! 

CARTON. 

'Sh! . 

GIRL. 
Are you dying for him ? 

CARTON. 
Yes. 

GIRL. 
- Oh ! I can not understand. Why do you give your life for 
another? 

CARTON. 
To save a life she loves. 

GIRL. 
{bewildered) A life she loves! 

CARTON. 
Yes. I can see her now — I can see them both — happy in 
that England that I shall see no more. 

{In distance can be heard the tumbril; near and nearer 
till at last it arrives. Loud cheering off. Guard on 
steps) 



84 SYDNEY CARTON. [ACT IV 

GUARD. 

The third tumbi;-!! has arrived. I shall first call Number 
24. (GiRiv screams with fright and retreats over^. trembling) 
Now, Citizen Evremond, save her if you can, for your num- 
ber is 25. (Carton slowly 7'ises and Girl seeing hifn rise re- 
covers. Qkvjioi^^ goes over to her^ puts forth his hand; with 
both of her hands she grasps his) 

CARTON. 
Fear not, my child. Remember the words of Him above: 
**I am the resurrection and the life. He thatbelieveth in me, 
though he were dead, yet shall he live, and whosoever liveth 
and believeth in me shall never die." Come— come, (slowly 
exit over i,.2E.) 

Dark Change. 



Scene Fourth. — The guillotine — scene quite darky only the 
green foots on one-half ; Executioner on top of guillotine 
with lantern; Defarge, Vengeance, Executioner, and about 
thirty people are on stage; Defarge on r. drinking with 
Vengeance; bottle and cups on old bar^rel; a wash bench at 
foot of guillotine ; two men playing cards on it, others 
grouped about drinking ; woman is on the scaffold^ she has 
fainted and is supported by man and woman attendants. 



EXECUTIONER. 
Take her away, the hag; she's fainted. To kill her now 
would be no punishment, {they take her azvay) Look, friends, 
the storm is over and it's clearing in the east. St. Guillotine 
is slow this morning. Only two tumbrils have arrived, but 
the knife works like a charm, {works knife) 

MOB. 
Long live the guillotine ! {cheers) 

EXECUTIONER. 
This time yesterday forty heads had fallen. 

VENGEANCE. 
We'll double that this time, and dance with joy when their 
cursed heads are on the block. What say you, Defarge? 

DEFARGE. 
My sentiments to the letter. But all I await is the cursed 
Evremond. 



SC. IV] SYDNEY CARTON. 85 

VENGEANCE. 
You'll not wait long. He's on the third tumbril. It will 
soon be here — then, Defarge, you can see him get his head 
shaved, (laughs) 

DEFARGE. 
When I see him mount that guillotine my life's ambition 
will be satisfied, {enter Baksad i,.2E. with lantern). Oh! 
you're here, are you? {rising). Look, friends, this is the 
m^u that held me fast at the trial and tried to rob me of my 
vengeance. Damn you ! you should be up there and follow 
your friend, Evremond. 

BARSAD. 
I care not for Evremond. I hate him as much as you. I'll 
not be satisfied until I see him under that knife, {xs over R.) 

DEFARGE. 
Oh ! you've changed. Then come with me and meet him 
on his way to death. 

BARSAD. 
No, I'll wait my vengeance here. 

DEFARGE. 
You're not one of us, you coward ! 

VENGEANCE. 
You'ie right, Defarge, that man is a coward! {noise of 
tufnbril in distance.) 

DEFARGE. 
^ Listen, friends, listen; the music of the tumbril, {crowd 
stops playing cards and dri7iking. Away in the distance can 
be heard the Marseillaise if desired) Come, Barsad, you 
traitor — come, meet him if you dare, {exit DeFarGE and 
Vengeance. The crozvd in distance coining nearer and 
nearer^ singing — Barsad walks over j^. and back uneasily — 
the Executioner trying the knife, laughing as it ivorks up 
and down — the mob comes on at "To arms, to arms, ye 
brave!" — as they all get on stage, they have lighted torches 
if desired) 

EXECUTIONER. 
Long live the guillotine ! {cheers and then Carto'n comes 
on leading little seamstress from Iv.2E.; as he appears Mob 
taunt him with ad lib exclamations — "Ah, off with his head — 
To the guillotine with him !" {as Carton and seamstress 
reach foot of guillotine, Defarge rushes on wildly. Barsad 



86 SYDNEY CARTON. [ACT IV 

has followed up Cakton looking closely to be sure that Car- 
ton has carried out his agi eemeut and this will make 
Barsad near foot of guillotine steps as DiiFARGE enters) _ | 

DEFARGE. 

Hold on! stop! stop! (Mob stop exclaiming) Evremond 
has escaped! 

MOB. 
Escaped! 

DEFARGE. 
That's not Evremond — that's Carton, the Englishman! 
{makes a rush for Carton — Barsad holds him. — brings him\ 
down to about r.2K.) 



MOB. 
{follows) Let him go! hold on there! stop! 

(Barsad and Guards overpower Dkfarge) 

BARSAD. 
Stand back! This man is crazy — Evremond is on the scaf- 
fold now — look! 

{This action is done quickly — action — action so that Car- 
ton goes up the scaffold and is fust in position on the 
top when Barsad says "Look!") 

CARTON. 
It is a far, far better thing that I do than I have ever 
done. It is a far better rest that I go to than I have ever 
known. (Mob motionless — ^Dkfarge on his knees overpow- 
ered — Barsah'S right hatid over his mouth — his left pointing 
to Carton — all eyes on Carton — Vengeance over lejt — and 
as Carton speaks calcium on him and glare on back drop as 
though coining sunrise) 

Curtain 



I 



MUSIC FOR SYDNEY CARTON. 



prologue:- 



Music for rise Cue — "That's iny business" — music till doctor 
exits. Whcu they overpower Dr. Manette in struggle, music till 
curtain. 

ACT I. 

Music for rise. When face appears at window, music through dark 
change of scene. When I^ucy is alone on stage, music till curtain. 

ACT II. 

Music for rise. When Dr. Manette and Darnay are alone on stage, 
music till Lucy says, " Defatge! " When Dr. Manette invites guests to 
sit at table, music till Lucy exits. When Lucy and Carton are on 
stage alone, music till curtain. 

ACT III. 

Music for rise. When Carton takes paper from Barsad, music 
through chatige of scene. Particular cue — "Then the prisoner is 
free." Play the Marseillaise— F. F. F. F. till curtain. 

ACT IV. 

Music for rise— the Marseillaise — P. P. When Dr. Manette appears, 
music till change o* scene When Carton says, "God help him and 
strengthen me," music till change of scene. When little seamstress 
screams, music till change of scene. When Carton on scaffold, music 
till curtain. 



LIGHT PLOT. 



PROI.OGUE. 

House lights out during entire play. Calcium to shine in through 
window for moonlight during entire act Green or blue foots on sQ 
characters can only be distinguished. All other lights out. 

ACT I. 

Scene Ftkst. — At rise foots only on, all borders out. When servant 
extinguibhes candle on centre table, foots gradually down When 
remaining candle blown out, entire darkness for change of scene. 
As curtain strikes the stage, first border up to strike and rearrange 
next scene. When ready, first border out and curtain goes up on 
dark scene. 

Scene Second. — When Stryver comes up trap with candle, foots up 
half. Ashe lights candle on stage, foots up full and then gradually 
first border full. Remain so during act. 

ACT II. 

At rise, foots and first' and second borders red and white on full. 
White bunch light up back of set house centre. When Darnay comes 
on, first and second white borders gradually out. After Carton's scene 
with Lucy, bidding her "good-bye," white foots gradually out. Only 
red on full for rest of act and white bunch lights on in house. 

* 

ACT III. 

Scene First. — At rise, only foots on full. At end of scene, dark 
change — Curtain When curtain strikes the stage, first border to 
strike and rearrange scene. When all ready, first border out. Cur- 
tain up on dark scene, then all lights on full till end of act. 

ACT IV. 

Scene First. — At rise, foots only on full. Dark change. 

Scene Second — Green foots on half, and green calcium on at ri e. 
so as to strike square on Darnay at table. On till end of scene — dark 
change. 

Scene Third. — Only strong white bunch light on from r.ie., to 
strike across stage in direction of l 2E. The Tormentor will cau«;e a 
shadow at r.2r., where prisoners are, and they can only be seen when 
guard raises his lantern before their faces This will carry out the 
effect of the " Black Hole" in the prison Lights kept this way until 
Carton and sewing girl are about to make their exit at l.2E. Dark 
change. 

Scene Fourth —Only green or blue foots on so that audience can 
distinguish Executioner and see knife work on the Guillotine. Cal- 
cium read}'^ to work from flies to strike Carton on .scaffold at cue — 
*' He's on I'he scaffold now— look! " When calcium on, foots out and 
bunch light back of back drop gradually on as though coming sun- 
rise. On till Curtain. 



PROPERTY PLOT. 



PROLOGUE. 

Bag of hay to throw on floor. Two dark horse-blankets. Common 
kitchen-table, r.2E. Old chair without back l. of table. Old-fash- 
ioned ink. stand, quills, ink, paper, documents. Candle lighted on 
table. Old lash whip. Bell at prompt entrance. Bunch of keys for 
Marquis. Documents for Chevalier. 

ACT I. 

Scene First. — Small fancy table with cover, on which Candelabra 
with three or four lighted candles. Also quills, ink and paper, docu- 
ments and small tap bell A small .«-tand r e. at Tormentor, with 
candle and candlestick. Curtains and pole, c. Chairs r. and l. of 
table. Bass drum or thunder drum r.2E. off stage for thunder. Doc- 
uments for Darnay. I^etter for TvaBreton. Dagger for Defarge. All 
old style furniture. 

Scene Sf:cond. — Small table over at r.i e. with chair l. of it; on it 
small Bible, opened. Candle and candlestick. Medium sized table, 
c , on it old-fashioned wash bowl partly filled with water. Towel for 
Carton to tie round his head as though sleeping off a night of dissipa- 
tion. Ivarge table over at L 2E. near fireplace. Chair r. and l. On 
table, writing materials, a few books, four emptv wine bottles, one 
bottle full of wine, three glasses A drawer in side of table nearest 
fireplace in which is old-fashioned revolver. Book case up back. A 
feyv books on floor. Old-fashioned looking glass on mantle, also an 
old long pipe filled with tobacco. Lighted candle at foot of trap 
under .<-tage so that Stryver can take it up with him. Small portrait 
for Defarge, to be burned. Coins for Miss Pross. Documents for 
Stryver. Old-fashioned furniture and entire scene one of neglect. 

ACT II. 

Ground cloth down. Rustic bench up l.c. Two rustic chairs and 
small rustic table down at l. 2E. Large table with cloth over at r.2E., 
with six chair.'< round it. Two small fruit stands with fruit on table, 
also two wine bottles filled with wine and six wine glasses; also glass 
decanter. Two vases of flowers; on left corner of table, writing 
material for Mr. Lorry. Letter for Jerry Cruncher. Letter and bou- 
quet for Stryver. Letter for Defarge Purse with coin for Miss Pross. 
Letter on table addressed to Marquis St. Evremond, which Stryver 
discovers. 

ACT III. 

Scene First — Kitchen table with one chair over at r.2E. On it are 
writing materials and two books. Dagger for Rarsad. Note— When 
scene is struck, place this table with everything on it in front of 
President's bench, c. 

Scene Second. — Writing materials and bell for Judge or President. 
Dark flask for Carton. Bunch of grass for Vengeance. Chair back 
of bench for President. Twelve chairs for Jury. Two chairs down 
at R. J E., in front of Jury box, for Lucy and Mr. Lorry. 



ACT IV. 

Scene First — Bell to strike ir at opening^ of scene. Fancy table 
over L 2 E., on which writing- materials and old papers which Mr. 
Lorry is tearing up. Waste basket. Curtains on windows i> 2 e. 
Curtains and pole on centre door. Lcrge arm chair back of centre 
curtains. Two chairs k. and i>. of table over l. Sni^ll table over r. 2 
e. Small grind stone outside window l. 2 e. Old knife to grind. 
Dark change. 

Scene Second — Bell to strike 2 at opening of scene. Old table 
ovet R with wri Jng materials and old chair le'ft of it. Small white 
cloth and small bottle filled for Barsad. Old-fashioned lantern for 
Guard. Dark change. 

Scene Third.— Bell to strike 3 at opening of scene. Lantern for 
Guard Effect of tumbril iu distance. Large document for Guard, 
one common chair, c. 



Scene Fourth. — Two old barrels, bottom side up, up stage, one r. 
and one l. Two tin cups and one wine bottle, also pack of cards on 
each barrel. Two wash benches over at u 2E. and L.3E. Four stools 
or chairs without backs. Lantern for Kxecuutioner. Effect of tum- 
bril coming in distance. 



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